Abstract
Resumo: O objetivo deste artigo é contribuir à crítica feminista do cinema a partir da análise da representação das mulheres negras nos longas-metragens brasileiros de maior público dos últimos anos. Este esforço se divide em três partes: em primeiro lugar, revisamos os estudos sobre o tema, mostrando que a articulação entre raça e gênero tem sido tratada de maneira marginal e com falhas metodológicas; em seguida, apresentamos dados quantitativos sobre o perfil dos elencos principais dos filmes nacionais; e, por fim, desenvolvemos uma tipologia dos estereótipos atribuídos às protagonistas de cor preta ou parda. Os resultados permitem concluir que perdura a sub-representação da mulher negra e a criação predominante de imaginários negativos, que as reduzem a ícones do espaço doméstico e a objetos de sexualização e de dissimulação.
Highlights
The feminist criticism of movies produced in Brazil show a great methodological diversity
The present paper aims at contributing to feminist cinema criticism with considerations about the participation and representation of black women in Brazilian feature films
Two perspectives that analyze the situation of black women in a somewhat broad sample of movies are worth mentioning: a study by the Multidisciplinary Study Group for Affirmative Action (GEMAAIESP-UERJ) and the book O Negro Brasileiro e o Cinema (African Brazilians and Film), by João Carlos Rodrigues
Summary
Analyzing representations is swampy ground: meanings associated to images are frequently varied, and sometimes disconnected or even contradictory. Throughout his text, Rodrigues narrates episodes of resistance and contestation, such as the experience of Black Experimental Theater, by Abdias Nascimento, or the claims by black artists and intellectuals for the presence of more individualized characters, the author seems to suggest, as his conclusion, that the responsibility for the subaltern situation in the art world lies with the black population itself That is, he ends up reducing a broad social issue to the same stereotypes identified in his work: the image of African Brazilians associated to samba and beer - central aspects of the figure of the “malandro.”. White individuals are 47.7%, yellow 1.1%, and native 0.4%
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