Cinema caipira: a representação da mulher nos filmes de Mazzaropi

• Ano de defesa: 2024
• Autor(a) principal: Correia, Ana Claudia Kanesaki
• Orientador(a): Bonfim, Luís Américo Silva
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Programa de Pós-Graduação: Pós-Graduação Interdisciplinar em Cinema
• Palavras-chave em Português: Mulheres no cinema; Cinema - Brasil; Interseccionalidade; Análise fílmica; Mulher caipira; Representação cinematográfica
• Palavras-chave em Inglês: Intersectionality; Film analysis; Woman caipira; Cinematographic representation
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA
• Link de acesso: https://ri.ufs.br/jspui/handle/riufs/22725

This dissertation aims to analyze the representation of country women in films directed by Amácio Mazzaropi, with the general objective of contextualizing the constituent elements of this country female representation. This analysis incorporates a representative sample of Mazzaropi's filmography, with emphasis on the films Jeca Tatu (1959), Jeca e a Freira (1968), Um Caipira em Bariloche (1973) and A Banda das Velhas Virgens (1979). We seek to understand the complexity of the female figure in the universe of the selected films. The dissertation carries out a film analysis, based on the theories of Jacques Aumont (2009) and Marie (2009), attentive to the issues of cinematographic language, with Joseph Mascelli (2019), semiotic elements with Ferdinand de Saussure (2012), [1916], in addition to the themes of representation from Francis Bacon (1979), [1620], Michael Foucault (2002), [1966] and Stuart Hall (1992 - 2016), intersectionality with Kimberlé Crenshaw (2002) and Akotirene (2019), and caipira culture with Cornélio Pires (2002), Cascudo (2005), Candido (2017) and Darcy Ribeiro (2023). This approach was based on the use of still frames, which allowed for the identification of nuances in the representation of women across different social contexts, with a broad perspective of highlighting the relevance of director Amácio Mazzaropi as a significant figure in the country cinema scene. Finally, the research contributed to providing critical perspectives and reflections on the correlation between cinematographic representations, social, cultural and gender issues. That's why, we highlight the importance of cinema as an instrument not only for entertainment but also for the construction of knowledge, reflection, and the elaboration of narratives that shape collective identities and social understandings.