Se essa rua fosse minha: um olhar sobre a representação da subalternidade em Areia Loteada e Guetos Urbanos

• Ano de defesa: 2019
• Autor(a) principal: George, Bárbara Rodrigues Nogueira
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Subalternidade; Serviluz; Cinema; Cidade
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/71337

The research starts from the latent desire to unite city and cinema, to propose a thought in which the cinema is in the city as the city is in the cinema. This Cinema processes a common scene via documentary and fiction and, mainly, in the transformations that insure between these fields. The film Areia Loteada by the collective Nigéria and the music video Guetos Urbanos, by the band Selvagens à Procura de Lei, are analyzed as they show us the subalternity of the resident of Serviluz, a peripheral neighborhood of Fortaleza city, but not only this, they produce concepts and make us think and reflect about these issues surrounding it. These films make us think about the subordinate of the Serviluz and this political-aesthetic shock ended up in this research, in which not by aesthetic proximity, but as political assets the productions are important and reflection of their time. The problematic that emerges situates a discussion about the ways of inventing subalternity(ies) from the ways of making movies. From this perspective, subalternity becomes a protagonist through the cinematic lens of Brazilian cinema. As a foundation of cinema studies, I bring Jean-Louis Comolli(1997;2007;2008), Didi-Huberman (1998), Ismael Xavier (2003), Edgar Morin (2005); for the subalternity, Gayatri Spivak (2010), Ângela Prysthon (2004) e Ivana Bentes (2003); and as far as aesthetics and politics are concerned, Jacques Ranciére Jacques Ranciére (1995;1996;1997;2005;2007;2009;2012), Deisimer Gorczevski (2015) and Walter Benjamin (1996). Keywords: Subalternity. Serviluz. Cinema. City