Cinema e ideologia : a espetacularização e os discursos acerca do policial e do bandido na sociedade moderna

• Ano de defesa: 2011
• Autor(a) principal: Paulo, Sidney de
• Orientador(a): Miotello, Valdemir
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Carlos
• Programa de Pós-Graduação: Programa de Pós-Graduação em Linguística - PPGL
• País: BR
• Palavras-chave em Português: Linguística; Cinema brasileiro; Semiótica; Bakhtin, Mikhail Mikhailovitch, 1895-1975; Signo; Estudos bakhtinianos
• Palavras-chave em Inglês: Brazilian cinema; Sign; Bakhtinian studies
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::LINGUISTICA
• Link de acesso: https://repositorio.ufscar.br/handle/20.500.14289/5701

The fight between cops and robbers is not a recent theme in the history of cinema. In the case of Brazilian cinematography, we can find out in some works, a separation into two areas: police and robbers. However, what is curious to note is the fact that in such films as Carandiru, by Hector Babenco (2002), or O bandido da Luz Vermelha, by Rogério Sganzerla (1968) the villain seems to embody the hero, while it is up to police looks like a villain. Recently, in 2007, Jose Padilla has showed the public the film Tropa de Elite, in which the same signs got new directions, putting police, as bandit and hero, or villain. We realize, then, the multifaceted issues of the sign that is able to reflect and refract various groups and social realities. Porting an ideological character it must be recognized, as did the Russian philosopher Mikhail Bakhtin. However, we also note that sense is neither the producer of film, neither the film nor the audience, but in a relationship product / movie / public. On the other hand, entering just a matter of describing the filmic utterance in order to establish who is the hero or the villain ends up becoming an empty study, since it does not seem to be the crux of the problem. The agenda of Capital in contemporary society no longer has the goods only material goods, it has expanded the concept and sell fear, longing and human dreams. The capitalist process works quite paradoxical, because it creates, at first, the need for something, to then sell this product. Through spectacularization the event, the figures of the police and the Bandit are the new modern goods. Therefore, this paper aims to propose a study of the meanings to these signs, designed in constant motion between the ethical and aesthetic world, according to Bakhtinian thought.