Detalhes bibliográficos
| Ano de defesa: |
2022 |
| Autor(a) principal: |
Wandscheer, João Paulo Pinto
 |
| Orientador(a): |
Gutfreind, Cristiane Freitas
|
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica do Rio Grande do Sul
|
| Programa de Pós-Graduação: |
Programa de Pós-Graduação em Comunicação Social
|
| Departamento: |
Escola de Comunicação, Arte e Design
|
| País: |
Brasil
|
| Palavras-chave em Português: |
|
| Área do conhecimento CNPq: |
|
| Link de acesso: |
https://tede2.pucrs.br/tede2/handle/tede/10168
|
Resumo: |
This dissertation analyzes the films Hard Paint (2018), directed by Marcio Reolon and Filipe Matzembacher, and Body Electric (2017), by Marcelo Caetano, through the scenes of party and sex with the objective of analyzing approximations between homossexuality and the concept of queer in both movies. We used film analysis as a methodology and found theoretical basement in the books and thoughts of authors such as Nagime (2016), Lacerda Júnior (2015), Lopes (2016), Rich (2013), Moreno (2001), Trevisan (2018) and García (2007). We comprehend the party as a space and the sex as practice that enables us to analyze approximations between each movie's protagonists' attitudes with the term queer, which presents distance from the concept of assimilation. In Hard Paint, we can see through the scenes of party that the protagonists live a context which we can associate with a non-place. In Body Electric, it's possible to notice that the protagonists present a detachment towards the traditional family nucleus. As for the scenes of sex, we can notice - in Body Electric - a longer distance towards monogamy. In Hard Paint, we perceive distancing from rigid sexual roles, which involve the idea of a man being only the top and the other, the bottom. |
