A rubra ascese queer de João Francisco dos Santos: Madame Satã, do testemunho às telas
DOI:
https://doi.org/10.9771/peri.v1i1.10156Keywords:
cinema brasileiro, gênero, raça, homossexualidade.Abstract
o filme Madame Satã, de Karim Aïnouz, desloca as convenções formais de binarismos construídos esubscritos por grande parte das narrativas culturais brasileiras, tais como “heterossexualidade vs.homossexualidade”, “negro vs. branco” e “masculino vs. feminino”. É mister salientar o papel das estratégiasperformativas e paródicas como fundamentais para a constituição de arranjos disruptivos de gênero, raça esexualidade. Realiza-se, neste artigo, um exercício dialógico de análise fílmica, estabelecendo interconexõesentre documentos históricos e literários que também se ocuparam de enunciar a trajetória de João Francisco dosSantos, o sedutor malandro travestido da Lapa.Downloads
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