O cinema como ponte semântica : as experiências sociais nos filmes sobre a aids

• Ano de defesa: 2025
• Autor(a) principal: Raphael Castilho Bueno Silva
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais
• Palavras-chave em Português: Comunicação - Teses; Cinema - Teses; AIDS (Doença) - Teses
• Link de acesso: https://hdl.handle.net/1843/79855

With the aim of understanding the place of cinema in the discourses produced about AIDS, this dissertation seeks to observe the semantics present in films that portray the disease in the last decade. The central question is to analyze how these devices highlight patterns that evidence social experiences of disrespect or recognition. To get closer to the answers to this question, we turn to theories of recognition (Honneth, 2003; Butler, 2015; Petherbridge, 2017; Lage, 2020); considering cinema as a semantic bridge (Simim, 2015; Maia, 2018) and assuming that the fictional pieces produced on the subject are capable of influencing social practices (Turner, 1997; Sontag, 2003; Hall, 2016) and accelerating or reversing the formation of social struggles of vulnerable groups. We understand that the population living with HIV is susceptible to a lack of recognition; especially when we examine the perversity of the discourses produced about the disease during the 1980s and perpetuated to this day in the contemporary imagination. To articulate the relationship between AIDS and vulnerability, we turn to the communicational phenomena known as discursive epidemic (Bessa, 1997) and third epidemic (Daniel & Parker, 2018); ideas that are conceived from the process of metaphorization and meaning of diseases in social discourses (Sontag, 2007). Based on this discussion; which also helps us to enumerate the semantics commonly used to describe the syndrome and AIDS patients, as well as the history of the relationships between the disease and cinema (Carvalho, 2008; Sousa, 2016); We operationalize two strands of film analysis (Aumont & Marie, 2004) – in critical and transcriptional terms – of fragments extracted from five productions released on the subject between 2014 and 2023. Next, the results of the analysis will be presented based on a film constellation (Souto, 2020): a comparative cinema method that organizes the observed material through thematic subsets. This practice allows us to panoramically compare the semantics of the selected productions with the statements about AIDS disseminated in memory and social practices; resulting in inferences about the relationships of this cinematography with patterns of recognition or contempt, which go from the characters to the spectators and can, at the end of this process, catalyze or set back the formation of struggles that demand better living conditions and visibility.