¿Qué empiece el matriarcado? Representação e representatividade femininas em La casa de papel (2017)

• Ano de defesa: 2025
• Autor(a) principal: Gama, Milena Costa Silva
• Orientador(a): Santos, Claudiene
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Programa de Pós-Graduação: Pós-Graduação Interdisciplinar em Cinema
• Palavras-chave em Português: Crítica cinematográfica; La casa de papel (Filme); Mulheres no cinema; Papel sexual; Matriarcado; Representatividade feminina; Estudos de gênero; Estudos culturais
• Palavras-chave em Inglês: Female representativeness; Gender studies; Cultural studies; Matriarchy
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
• Link de acesso: https://ri.ufs.br/jspui/handle/riufs/25317

This study proposes a critical analysis of female representation and representativity, focusing on a group of female characters, with particular emphasis on the character Nairóbi (Alba Flores), and on the annunciation of matriarchy in the series La Casa de Papel (2017), drawing on Gender Studies and Cultural Studies. The central objective of the research is to understand which representations and forms of representativity are addressed in the series, as well as to analyze the difficulties faced by female characters in occupying moments of leadership, discussing the advances, continuities, and ruptures portrayed throughout the narrative. In light of the emblematic phrase “¡Que empiece el matriarcado!”, uttered by Nairóbi, the study proposes a critical reflection on the possibilities and limits of representing women in leading roles, questioning whether the narrative genuinely promotes a rupture with the patriarchal model or merely reaffirms it under new guises. To achieve this objective, an integrative literature review was conducted in order to identify academic productions that approach the series from the perspective of Gender Studies and discussions on matriarchy in La Casa de Papel. Following the integrative review, the methodology of film analysis was adopted, which involves examining the audiovisual production from a position that goes beyond that of an ordinary spectator, by decomposing it into its constitutive elements. Based on this approach, it was possible to observe that the series brings to the fore symbolic elements of female empowerment, such as the temporary assumption of leadership by Nairóbi; however, this rise is marked by the almost immediate reestablishment of leadership by a male character. In this way, the persistence of gender stereotypes and the difficulty of consolidating female figures as legitimate leaders in contexts traditionally associated with the male universe become evident. Finally, by considering the series as a cultural artifact that participates in the (re)production of meanings and modes of subjectivation, the study demonstrates that the fictional work ultimately reaffirms gender inequalities still present in contemporary society, particularly regarding the relationship between men and women in leadership positions. In this sense, it is evident that the series holds critical potential to problematize gender hierarchies by presenting complex female narrative arcs rich in meaning. Ultimately, the importance of La Casa de Papel in promoting debates on gender inequality, female representativity, and the construction of subjectivities is acknowledged, since, when widely consumed, such narratives may function as cultural pedagogies that stimulate critical reflection and contribute to the reconfiguration of gender relations within the social imaginary.