Banca de DEFESA: EURO PREDES DE AZEVEDO JÚNIOR

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
DISCENTE : EURO PREDES DE AZEVEDO JÚNIOR
DATA : 30/04/2019
HORA: 14:30
LOCAL: FACULDADE DE COMUNICAÇÃO
TÍTULO:

A GENDER IN PARALAXE: the gap between works and speeches

PALAVRAS-CHAVES:

Chanchada. Genre. Comic. Parody. Popular.

PÁGINAS: 267
GRANDE ÁREA: Ciências Sociais Aplicadas
ÁREA: Comunicação
RESUMO:

This doctoral thesis is a study of the Brazilian comic-musical genre of the Chanchada, based on the fact that it performed a 'pendular movement' of value, going from one side of the spectrum to the other, from 'musicanalismo', on one pole, to 'the only genuinely Brazilian genre', on the other. How is it possible that a certain object that has remained the same in time - the chanchadas 'end' in the ’60s -, since the films that are warmly spoken of today are the same ones that were said to be 'subculture' before, can have hermeneutical power to generate two opposing interpretive forces? We divided this study into three fundamental stages: (1) the bibliographic-journalistical review of the written material about the chanchadas; (2) the internal analysis of works of the genre, aiming to create a (3) dialogue between contexts (discourses) and film-texts, comparing interpretations, testing the possibilities that internal analysis may suggest. These refer respectively to Chapters III, IV and V. On the basis of a nietzschean-inclined ‘criticism of value’, it consists, in a certain sense, of ‘archeology’ or ‘cultural genealogy’, insofar as the thesis attempts to draw a conceptual-valorative map of the chanchada, observing which elements are activated in the evaluations in question; in another sense, it is ‘historical poetics’, that is, how certain strategies of poetic effect pass through genres, which, in an image, can be illustrated as circumferences at intersection, encompassing strategies that are part of several circles (genres). Such strategies were grouped around the notions of 'parody', 'popular', 'comic' and 'modern', these elements being that analytic operators of a textual / contextual interface. Our conclusions are very ‘inconclusive’ in nature and consists, for the most part, of interpretative suggestions; however, the most importants of these are the idea of something as a 'cultural-developmental resentment' in the historiography of national cinema; the notion of parody as ‘poetic of contre-plongée’; the sketching nature of the chanchada aesthetic and its derivation from the Teatro de Revista – Revues – (along with its ‘bad’ value); the relation of the positive evaluation of the critical chanchada’s laughter, which saw there only the castigat ridendo moris, with an idealized lineage for the laughter; the imposition that the bodies in scene do to the analyst of these films, given its importance to the comical nature of the genre; the elements of 'modern cinema' present already in the chanchadas, despite the fact that cinematographic modernism has been the main critic of the genre; the elements of something like the ‘Eztétyka da fome’ (the “Hunger’s Aesthetic”), by Glauber Rocha; and finally, regarding the method, the indispensability of a procedure that allows an interface between review of discourses and internal analyzes.

MEMBROS DA BANCA:
Externo ao Programa - 896.228.478-20 - CLEISE FURTADO MENDES - UFBA
Externo à Instituição - FREDERICO AUGUSTO LIBERALLI DE GOÉS
Presidente - 1718313 - GUILHERME MAIA DE JESUS
Interno - 807.268.365-91 - LUDMILA MOREIRA MACEDO DE CARVALHO - UDEM
Externo à Instituição - MARCOS CEZAR BOTELHO DE SOUZA