Interstícios da pornochanchada brasileira : relações ambíguas entre a vendabilidade e contestação política nos filmes produzidos pela Boca do Lixo na primeira metade da década de 1980

• Ano de defesa: 2014
• Autor(a) principal: Castro, Wesley Pereira de
• Orientador(a): Santos, Verlane Aragão
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Programa de Pós-Graduação: Pós-Graduação em Comunicação
• Palavras-chave em Português: Cinema brasileiro; Boca do Lixo; História do cinema; Ditadura militar no Brasil; Erotismo; Filmes eróticos; Sexo no cinema; Comunicação de massa - Aspectos políticos; Comunicação de massa - Aspectos morais e éticos; Pornochanchada
• Palavras-chave em Inglês: Brazil; Dictatorship; Erotica; Mass media; Motion pictures
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://ri.ufs.br/handle/riufs/4032

The dissertative work here presented have as objective bring to academic light some questions with great interest to researchers in Communication that are hunched at elementary questions of the brazilian cinema, crossed by a perennial stage of underdevelopment, as alleged by the film critic Paulo Emílio Salles Gomes. The focus of this research is the set of movies produced in the paulistan region of Boca do Lixo [ Mouth of Trash ], precisely between the years of 1980 and 1985, when the filmmakers established in there demarcate some traces of authorship vinculated to a production model quite particular, but those were progressively extincted by the massive introduction of the movies with explicit sexual content during the politic reopening of Brazil, what, in fact, culminated in the definitive decay of the region, today designed by the even more demeritorious nickname of Cracolândia [ Crackland ]. If, in the 1960 s, the regional quadrilateral baptized by the policeman as Boca do Lixo (because of the criminal activities, predominately related to prostitution) received attention in to host some important productive cinema enterprises of the country including Cinedistri, that, in 1962, was proud to produce the winner of the International Cinema Festival of Cannes, O Pagador de Promessas (directed by Anselmo Duarte) in the first half of the 1980 s, the careers of the film directors that have been consolidated after the well-succeeded cicle of the pornochanchadas were both threatened by the inclement pursuit of the militar censorship and biased press of the period as the porn requirements arising from the penetration of foreign cinematographies. The strategies found by these filmmakers of the Boca do Lixo in order to maintain their stylistic trademarks and, at same time, obey for the obligations for saleability and affiliating themselves to the contestatory cries of the period is what was intended to scan in this research.