Tecnologia da visualidade: a representação de gênero e da sexualidade no filme A Mulher de Todos (1969) do cineasta Rogério Sganzerla

• Ano de defesa: 2020
• Autor(a) principal: Vilela, Fabrício Marçal
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em História
• Palavras-chave em Português: Cinema Marginal; marginal cinema; Cinema Brasileiro; brazilian cinema; A mulher de todos; Rogério Sganzerla; Helena Ignez; Gênero; Gender; Sexualidade; sexuality; teoria queer; queer theory; CNPQ::CIENCIAS HUMANAS::HISTORIA; História; Sganzerla, Rogério, 1946-2004 - Crítica e interpretação; Mulheres no cinema; Mulheres - Comportamento sexual; Questões de gênero
• Link de acesso: https://repositorio.ufu.br/handle/123456789/39016; http://doi.org/10.14393/ufu.di.2021.8001

The present work has as a goal to reflect on the gender (femininity and masculinity) and sexuality (heterosexual and homosexual) representations in the Brazilian movie A Mulher de Todos (1969) by Rogério Sganzerla (1946 – 2004), a movie director from Santa Catarina. The film is inserted on the military dictatorship when Brazil faced a government based on reactive authoritarian and fascist forces. With the advent of the Institutional Act nº5 (also known as AI-5) from December the 13th of 1968, a set of measures took place consisting of incident procedures for controlling the subjects' bodies. The command of the day was the moralist rhetoric. The end of the 1960s is characterized as the fertile ground for micropolitics proposed by Counterculture movements. This resonance inspired Brazilian artists such as Rogério Sganzerla, who is the main issue of this research. In his film, A Mulher de Todos, Sganzerla brings to the screen Ângela Carne e Osso (played by Helena Ignez) a skinny, blonde and white Woman married to the millionaire entrepreneur Dr. Plirtz (played by Jô Soares), a corpulent and fascist white man. The film tells the story about the romantic and sexual adventures of Ângela Carne e Osso. For this analysis I use the contribution of poststructuralist studies as well as cultural studies, gender studies, queer studies and decolonial studies as my theoretical-methodological support. I tried to frame and analyze some scenes of the film with the porpouse to understand the way unique gender and sexual representations express themselves, willing to defy conceptions and prectices of control promulgated by Brazilian culture at the time.