Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica

Bibliographic Details
Main Author: Frota Reinaldo, Gabriela
Publication Date: 2024
Other Authors: Lima, Aluísio, Rebouças, Aline
Format: Article
Language: por
Source: Rebeca (São Paulo)
Download full: https://rebeca.socine.org.br/1/article/view/1153
Summary: Amid a precarious and little-known Brazilian reality in the Amazon region, faced with the hostility of nature and the ruthless exploitation of men, this work seeks to think about how women are objectified in Iracema - uma transa amazônica (1974) based on the work of feminist film theorists and the concept of scopophilia developed by Sigmund Freud and used by them. It also seeks, based on the misogynistic and patriarchal reality with which Iracema is treated throughout the film; to think of this work as a survival of the male gaze and objectifying process that John Berger (2022) highlighted in the 1970s using 15th-century European paintings for advertising campaigns. We use the concept of survival from the reflections of Aby Warburg regarding the concept of Nachleben, a term that is difficult to translate and which is related, with his reflections on the formula of pathos or pathosformel, to thinking about a pathosformel of the male gaze in Iracema - uma transa amazônica. This allows us to highlight the significance of the creation of movements and manifestations of criticism and resistance to the massive and industrial preponderance of this model of production of the gaze, not only in the period in which this movie was produced and transmitted but also in our contemporary times, 50 years later. This makes it possible to show how in the arrival of social networks, masculine and objectifying ways of constructing the gaze can be found in various digital media, as well as manifestations of criticism, resistance, and counterproposals that bring together other ways of constructing the gaze; the look of the camera.
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spelling Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônicaObjetificación de la mujer y el pathosformel de la mirada masculina en Iracema - uma transa amazônicaObjetificação da mulher e pathosformel do olhar masculino em Iracema - uma transa amazônicaEscopofiliaPathosformelMulherOlharImagensScopophiliaPathosformelWomenGazeImageEscopofiliaPatoformelMujerMirarImágenesAmid a precarious and little-known Brazilian reality in the Amazon region, faced with the hostility of nature and the ruthless exploitation of men, this work seeks to think about how women are objectified in Iracema - uma transa amazônica (1974) based on the work of feminist film theorists and the concept of scopophilia developed by Sigmund Freud and used by them. It also seeks, based on the misogynistic and patriarchal reality with which Iracema is treated throughout the film; to think of this work as a survival of the male gaze and objectifying process that John Berger (2022) highlighted in the 1970s using 15th-century European paintings for advertising campaigns. We use the concept of survival from the reflections of Aby Warburg regarding the concept of Nachleben, a term that is difficult to translate and which is related, with his reflections on the formula of pathos or pathosformel, to thinking about a pathosformel of the male gaze in Iracema - uma transa amazônica. This allows us to highlight the significance of the creation of movements and manifestations of criticism and resistance to the massive and industrial preponderance of this model of production of the gaze, not only in the period in which this movie was produced and transmitted but also in our contemporary times, 50 years later. This makes it possible to show how in the arrival of social networks, masculine and objectifying ways of constructing the gaze can be found in various digital media, as well as manifestations of criticism, resistance, and counterproposals that bring together other ways of constructing the gaze; the look of the camera.En medio de una realidad brasileña precaria y poco conocida en la región amazónica, frente a la hostilidad de la naturaleza y la explotación despiadada de los hombres, este trabajo se propone pensar las formas en que las mujeres son cosificadas en el cine de Iracema, una Transamazónica (1974), basada en el trabajo de teóricas feministas del cine y el concepto de escopofilia desarrollado por Sigmund Freud y utilizado por ellas. A partir de la realidad misógina y patriarcal con la que se trata a Iracema a lo largo de la película,también, , se reflexiona sobre  esta obra como una supervivencia de la mirada masculina y cosificante que John Berger (2022) destacó en los años 1970 en pinturas europeas del siglo XV en campañas publicitarias. Utilizamos el concepto de supervivencia a partir de las Aby Warburg respecto al concepto de Nachleben, término de difícil traducción y que se relaciona, a su vez, con sus reflexiones sobre la fórmula del pathos o Pathosformel, para analizar la obra, pensando en un Pathosformel de la mirada masculina en Iracema, uma Transamazônica. Esto permite resaltar el significado de la creación de movimientos y manifestaciones de crítica y resistencia a la preponderancia masiva e industrial de este modelo de producción de la mirada, no sólo en el período en que Iracema uma Transamazônica fue producida y transmitida, sino también en nuestros tiempos contemporáneos, 50 años después. Esto permite evidenciar cómo con el advenimiento de las redes sociales, las formas masculinas y cosificantes de construir la mirada se pueden encontrar en diversos medios digitales, así como manifestaciones de críticas, resistencias y contrapropuestas que acercan otras formas de construir la mirada; la mirada de la cámara.Em meio a uma realidade brasileira precária e pouco conhecida da região amazônica, diante da hostilidade da natureza e da exploração impiedosa dos homens, este trabalho busca pensar os modos de objetificação da mulher no cinema em Iracema - uma transa amazônica (1974) a partir do trabalho de teóricas feministas do cinema e do conceito de escopofilia desenvolvido por Sigmund Freud e por elas utilizado. Procura, também, a partir da realidade misógina e patriarcal com que Iracema é tratada no transcorrer do filme, pensar esta obra como sobrevivência do olhar masculino e objetificante - tema que John Berger (2022) evidenciou nos anos de 1970 ao comparar pinturas europeias do século XV e campanhas publicitárias. Recorremos ao conceito de sobrevivência a partir das reflexões de Aby Warburg, no que diz respeito ao conceito de Nachleben, termo de difícil tradução e que se relaciona por sua vez com suas reflexões sobre a fórmula de páthos ou pathosformel, para pensar um pathosformel do olhar masculino em Iracema - uma transa amazônica. Essa escolha teórico-metodológica nos ajuda a assinalar o sentido da criação de movimentos e manifestações de críticas e resistências à preponderância massiva e industrial desse modelo de produção do olhar, não apenas no período em que o filme foi produzido e veiculado, mas também em nossa contemporaneidade, 50 anos depois. Evidenciamos, ainda, como no advento das redes sociais os modos de construção masculina e objetificante do olhar podem ser encontrados em diversas mídias digitais, como também manifestações de críticas, resistências e contrapropostas que trazem outros modos de se construir o olhar da câmera.Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual2024-12-23info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionTextoapplication/pdfhttps://rebeca.socine.org.br/1/article/view/115310.22475/rebeca.v13n2.1153Rebeca - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 13 No. 2 (2024): Rebeca 26Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 13 Núm. 2 (2024): Rebeca 26Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 13 No 2 (2024): Rebeca 26Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 13 n. 2 (2024): Rebeca 262316-9230reponame:Rebeca (São Paulo)instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)instacron:SOCINEporhttps://rebeca.socine.org.br/1/article/view/1153/648Copyright (c) 2024 Gabriela Frota Reinaldo, Aluisio Ferreira de Lima, Aline Rebouças Azevedo Soares http://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessFrota Reinaldo, GabrielaLima, AluísioRebouças, Aline2024-12-23T18:20:30Zoai:ojs.emnuvens.com.br:article/1153Revistahttps://rebeca.socine.org.br/1ONGhttps://rebeca.socine.org.br/1/oairebeca@socine.org.br2316-92302316-9230opendoar:2024-12-23T18:20:30Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)false
dc.title.none.fl_str_mv Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
Objetificación de la mujer y el pathosformel de la mirada masculina en Iracema - uma transa amazônica
Objetificação da mulher e pathosformel do olhar masculino em Iracema - uma transa amazônica
title Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
spellingShingle Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
Frota Reinaldo, Gabriela
Escopofilia
Pathosformel
Mulher
Olhar
Imagens
Scopophilia
Pathosformel
Women
Gaze
Image
Escopofilia
Patoformel
Mujer
Mirar
Imágenes
title_short Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
title_full Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
title_fullStr Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
title_full_unstemmed Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
title_sort Objectification of women and the pathosformel of the male gaze in Iracema - uma transa amazônica
author Frota Reinaldo, Gabriela
author_facet Frota Reinaldo, Gabriela
Lima, Aluísio
Rebouças, Aline
author_role author
author2 Lima, Aluísio
Rebouças, Aline
author2_role author
author
dc.contributor.author.fl_str_mv Frota Reinaldo, Gabriela
Lima, Aluísio
Rebouças, Aline
dc.subject.por.fl_str_mv Escopofilia
Pathosformel
Mulher
Olhar
Imagens
Scopophilia
Pathosformel
Women
Gaze
Image
Escopofilia
Patoformel
Mujer
Mirar
Imágenes
topic Escopofilia
Pathosformel
Mulher
Olhar
Imagens
Scopophilia
Pathosformel
Women
Gaze
Image
Escopofilia
Patoformel
Mujer
Mirar
Imágenes
description Amid a precarious and little-known Brazilian reality in the Amazon region, faced with the hostility of nature and the ruthless exploitation of men, this work seeks to think about how women are objectified in Iracema - uma transa amazônica (1974) based on the work of feminist film theorists and the concept of scopophilia developed by Sigmund Freud and used by them. It also seeks, based on the misogynistic and patriarchal reality with which Iracema is treated throughout the film; to think of this work as a survival of the male gaze and objectifying process that John Berger (2022) highlighted in the 1970s using 15th-century European paintings for advertising campaigns. We use the concept of survival from the reflections of Aby Warburg regarding the concept of Nachleben, a term that is difficult to translate and which is related, with his reflections on the formula of pathos or pathosformel, to thinking about a pathosformel of the male gaze in Iracema - uma transa amazônica. This allows us to highlight the significance of the creation of movements and manifestations of criticism and resistance to the massive and industrial preponderance of this model of production of the gaze, not only in the period in which this movie was produced and transmitted but also in our contemporary times, 50 years later. This makes it possible to show how in the arrival of social networks, masculine and objectifying ways of constructing the gaze can be found in various digital media, as well as manifestations of criticism, resistance, and counterproposals that bring together other ways of constructing the gaze; the look of the camera.
publishDate 2024
dc.date.none.fl_str_mv 2024-12-23
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Texto
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://rebeca.socine.org.br/1/article/view/1153
10.22475/rebeca.v13n2.1153
url https://rebeca.socine.org.br/1/article/view/1153
identifier_str_mv 10.22475/rebeca.v13n2.1153
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://rebeca.socine.org.br/1/article/view/1153/648
dc.rights.driver.fl_str_mv http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual
publisher.none.fl_str_mv Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual
dc.source.none.fl_str_mv Rebeca - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 13 No. 2 (2024): Rebeca 26
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 13 Núm. 2 (2024): Rebeca 26
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 13 No 2 (2024): Rebeca 26
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 13 n. 2 (2024): Rebeca 26
2316-9230
reponame:Rebeca (São Paulo)
instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)
instacron:SOCINE
instname_str Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)
instacron_str SOCINE
institution SOCINE
reponame_str Rebeca (São Paulo)
collection Rebeca (São Paulo)
repository.name.fl_str_mv Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)
repository.mail.fl_str_mv rebeca@socine.org.br
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