Entendidas, caminhoneiras, sapatonas: as representações midiáticas de mulheres lésbicas no cinema brasileiro

• Ano de defesa: 2025
• Autor(a) principal: Lotufo, Ana Julia Della Mea
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; Brasil; UFSM; Programa de Pós-Graduação em Comunicação; Centro de Ciências Sociais e Humanas
• Palavras-chave em Português: Lésbicas; Estudos culturais; Representação midiática; Cinema brasileiro; LGBTQIAPN+; Lesbian; Cultural studies; Mediatic representation; Brazilian cinema; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: http://repositorio.ufsm.br/handle/1/36859

The aim of this research is to analyze how lesbian women are represented in Brazilian cinema, focusing on the period between 1980 and 2021. To this end, grounded theoretically and methodologically in Cultural Studies, we carried out a mapping of Brazilian films that feature female characters involved in relationships with other women. From this mapping, we identified twenty-four films that fit this proposal: eight produced between the 1960s and 1990s, and sixteen between 2000 and 2021, which demonstrates a strong connection with the increasing incorporation of progressive themes in Brazilian audiovisual productions. Considering this scenario and the proportional relation between the number of films produced per decade (1960–1990: four decades with eight productions; 2000–2021: two decades with sixteen productions), we selected six films for analysis: Onda Nova (1983); Amor Maldito (1984); Flores Raras (2013); O Perfume da Memória (2016); Ana e Vitória (2018); and A Primeira Morte de Joana (2021). Based on these, we analyzed the productions through three categories: plot, verbal text, and subjects, interrelating them with lived culture and theoretical perspectives. As a result, we identified three typifications of lesbian characters in these films: sapatonas, entendidas, and caminhoneiras. We also observed that relationships between women are often represented from the perspective of bisexuality. These classifications point to different types of media representations of homoaffective relationships between women in Brazilian cinema, providing insights into how such relationships are perceived in Brazilian society. Thus, through the interrelation between lived culture and recorded culture, we conclude that the representation of lesbian women in Brazilian cinema remains limited: despite the increase in film productions, in the works analyzed, the social diversity and cultural representativeness of the characters continue to reproduce a hegemonic pattern.