Banca de DEFESA: EDINALDO ARAUJO MOTA JUNIOR

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
STUDENT : EDINALDO ARAUJO MOTA JUNIOR
DATE: 24/11/2022
TIME: 14:00
LOCAL: Online
TITLE:

Queer scenes: performances, affective investments and networked music videos.

KEY WORDS:

queer scene; performance; affect; music videos; digital social networks

PAGES: 290
BIG AREA: Ciências Sociais Aplicadas
AREA: Comunicação
SUMMARY:

This thesis aims to analyze the brazilian cultural phenomenon in which dissidents of sex and gender norms (RIVAS, 2011; COLLING, 2019) have been spatialized in what I called transviadas musical scenes. As a theoretical-analytical gesture to understand its conditions of possibility, transviadas scenes tension conventions around genders, sexualities, race, ethnicity, class, territory, and articulate body torsion and frictions with reinventions that cross contemporary audiovisual and ours experiences, when we inhabit urban spaces and digital environments in a connected way. Focused on the incorporation of femininities, their transits and obliterations, I assume transviada like a translate of queer in Brazil, in the terms of Bento (2016; 2017), how people act in the world against systemic violence attributed to what the author calls the abject feminine. Through this perspective, I start from the assumption that the contemporary audiovisual, which strongly marks this scene, is woven by the intersection of communicational expressions, subjects and platforms in various dynamics of production, circulation and consumption that occur in flows (GUTMANN, 2021). From a theoretical
framework that articulates feminist studies, queer studies, cultural and communication studies, in addition to some philosophical and decolonial perspectives, I propose the image of a rhizome, a plot of heterogeneous knots (DELEUZE; GUATTARI, 2010; 2011), to analyze how resistance to gender hierarchies and norms, seen as performances of disidentification (MUÑOZ, 1999), reveal the formation of communities in which participants create new meanings for their identities and resignify social and community values. Such movement occurs from four plateaus/vectors: the first, the matrix shot for the transvestite singer Linn da Quebrada; and the second plateaus, which open a series of questions about gender and sexuality in the Brazilian context, are analyzed from three music videos by the artist: Enviadescer, Bixa Preta and Blasfêmea/Mulher. In a rhizomatic way, the empirical analysis connects Linn da Quebrada and her works to other subjects that, in network, exhibit the formation of scenes as spaces and relational communities. In this sense, artists and fans ritualize practices and socialize tastes, styles, identities in complex dynamics of production and consumption, giving new meaning to
collectivities and citizenship. Finally, it observes the ways in which we invest our desires, pleasures and belongings through music and audiovisual, and assumes that affective investments and identity empowerment (GROSSBERG, 1997; 2010; 2018, GOMES; ANTUNES, 2019), mapped around the networked audiovisuals, respond to given conditions of historical possibility.

COMMITTEE MEMBERS:
Externo à Instituição - CARLOS MAGNO CAMARGOS MENDONÇA - UFMG
Interna - ***.559.405-** - ITANIA MARIA MOTA GOMES - UFBA
Presidente - 2142522 - JULIANA FREIRE GUTMANN
Externo à Instituição - MATHEUS ARAÚJO DOS SANTOS - UNEB
Externo à Instituição - TOBIAS ARRUDA QUEIROZ - UERN