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Metamorfoses Do Cinema Punk (1975-1990)

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Metamorfoses Do Cinema Punk (1975-1990) 1 UNIVERSIDADE FEDERAL DO ESPÍRITO SANTO CENTRO DE ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CURSO DE MESTRADO RAPHAEL GENUÍNO DE ARAÚJO METAMORFOSES DO CINEMA PUNK (1975-1990) VITÓRIA 2016 2 RAPHAEL GENUÍNO DE ARAÚJO METAMORFOSES DO CINEMA PUNK (1975-1990) Dissertação apresentada ao Programa de Pós-Graduação em Artes – PPGA do Centro de Artes da Universidade Federal do Espírito Santo, como requisito para obtenção do título de Mestre em artes, na área de concentração Nexos entre Arte, Espaço e Pensamento. Orientador: Prof.Dr. Erly Milton Vieira Junior VITÓRIA 2016 3 4 RAPHAEL GENUÍNO DE ARAÚJO METAMORFOSES DO CINEMA PUNK (1975-1990) Dissertação apresentada ao Programa de Pós- Graduação em Artes – PPGA do Centro de Artes da Universidade Federal do Espírito Santo, como requisito para obtenção do título de Mestre em artes, na área de concentração Nexos entre Arte, Espaço e Pensamento. Aprovada em 19 de Agosto de 2016. COMISSÃO EXAMINADORA Prof.Dr. Erly Milton Vieira Junior (orientador – PPGA/UFES) Prof.ª Drª Gisele Barbosa Ribeiro (membro interno – PPGA/ UFES) Prof. Dr .Gelson Santana Penha (membro externo – PPGCOM Anhembi Morumbi) 5 Este trabalho é interamente dedicado aos meus pais, Maria e José, pessoas que eu amo e respeito profundamente; à Júlia Paternostro, meu amor e companheira nessa e outras caminhadas; e ao querido Erly Vieira, que confiou em mim de forma generosa e paciente. 6 AGRADECIMENTOS Professores do Programa de Pós-graduação em Artes da UFES dos anos 2014 e 2015. Professores da Graduação em Artes Plásticas dos anos 2005-2011. Colegas de turma e demais funcionários do Programa de Pós-graduação em Artes. Professores que gentilmente aceitaram o convite para participar da banca examinadora, Gelson Santana Penha e Gisele Barbosa Ribeiro. Capes, pela bolsa concedida a partir de Abril 2014. Meus grandes amigos e companheiros que fiz através do punk e seu amplo leque de manifestações na música, nos filmes, nos livros, nos quadrinhos, nas artes, nos fanzines. A todos aqueles que carregam através de suas ações o desejo de mudar as engranegens do mundo, mesmo que, em pequenas esferas. Em especial integrantes das bandas Morto Pela Escola e Zero Zero, Alex Vieira, Léo Aranha, Renzo Coimbra (parceiro nas traduções e entendimento do inglês), Juliano Enrico, Gabriel GQ, Lucas Bonini e Chico Cuíca; do grupo Camarão Filmes & Ideais Caóticas, Guido Imbroisi e Alexandre Brunoro; da gravadora Laja Records e Fábio Mozine; do extinto coletivo UDU, Matheus, Heitor, Cabron, Pelé, Léo Prata, Lucas Klitzke e Paulinha. Ao meu irmão Rogério, que sendo mais velho sempre me serviu de referência e inspiração. A todos os tios, tias e primos. Minha avó materna Iolanda. Meus sogros Raquel e Júlio, por todo acolhimento e carinho recebidos e devidamente guardados no coração. A todos os amigos de longa data, de dez, quinze, vinte anos. Vocês são importantes demais. Aos artistas Victor Monteiro, Gabriel Borem, Julio Tigre, Vinicius Guimarães, Thais Apolinário, Fábricio Pirata, Gabriel Gabiru, Lando, Didico, Tom Boechat, Lincon Guimarães, Ludmilla Cayres, Alê Bertolli, Kain Azoury, Margareth Galvão. Aos irmãos do Grupo Z de teatro, em especial Daniel Boone, Dinho e Carlinha. 7 RESUMO Esta pesquisa pretende analisar uma série de produções cinematográficas oriundas do ambiente punk americano e inglês, entre os anos 1975 – 1990, a partir de reflexões relativas a seus aspectos políticos, econômicos, estéticos e comparecimento da corporeidade punk. Busca, primeiramente, entender as relações econômicas-estéticas que percorrem a história do punk e suas manifestações, que assumem uma agenda de divergência a cultura mainstream e ao capitalismo. A dissertação procura estabelecer nexos entre cinema, elementos estéticos punks e seus compromissos a partir de filmes agrupados em três tendências: No Wave Cinema, Cinema Of Transgression e Cinema Punk Inglês, ao mesmo tempo em que confirma a inseparabilidade entre politica, economia e estética, considerando que essas obras cinematográficas tornam possível o acesso à experiência do punk ainda de um ponto de vista atual. Para isso, são importantes autores como Stacy Thompson, Jacques Rancière, Walter Benjamin, Gilles Deleuze e Félix Guattari, que ajudarão na articulação teórica dessas concepções. Nesse mesmo sentido, através de contribuições de David Le Breton, Jim Ellis e Nízia Villaça o trabalho tem a intenção de evidenciar as possíveis estratégias de utilização do corpo como suporte simbólico cinematográfico e no movimento punk. Palavras-chave: Cinema Punk, Punk, Economia, Faça Você Mesmo, Estética, Subcultura. 8 ABSTRACT This research aims to analyze a number of film productions coming from the American punk and English environment, between the years 1976 - 1990, from reflections on their political, economic, and aesthetic appearance of corporeality punk. Search, first, understand the economic-aesthetic relations that run through the history of punk and its manifestations, which assume a divergence agenda to mainstream culture and capitalism. The dissertation tries to establish links between cinema, punks aesthetic elements and commitments from grouped films in three trends: No Wave Cinema, Cinema Of Transgression and Cinema Punk English, while confirming the inseparability of politics, economy and aesthetics, whereas these films make it possible to access punk experience even from a current point of view. For this, are important authors as Stacy Thompson, Jacques Rancière, Walter Benjamin, Gilles Deleuze and Felix Guattari, which will help in the theoretical articulation of these concepts. In the same way, through contributions from David Le Breton, Jim Ellis and Nízia Villaça work intends to highlight the possible body using strategies such as film and symbolic support of the punk movement. Keywords: Cinema Punk, Punk, Economy, DIY, Aesthetic, Subculture. 9 LISTA DE FIGURAS Figura 1 - Fanzine PUNK, n° 1, Janeiro de 1976. ..................................................... 43 Figura 2 - Fanzine Sniffin` Glue, n° 1, Julho de 1976. ............................................... 44 Figura 3 - Fanzine Sideburns (1977). ........................................................................ 85 Figura 4 - Pat Place uma das personagens entrevistadas em GuérrileTalks .......... 106 Figura 5 - Lydia Lunch e Pat Palce em She Had Her Gun All Ready ...................... 107 Figura 6 - Personagem Rico (Duncan Hannah) em Unmade Beds. ........................ 108 Figura 7 - Lydia Lunch em Rome ’78 (James Nares,1978). .................................... 109 Figura 8 - Da esq. Eric Mitchell, Anya Philips, Steve Mass e Patti Astor em Kidnapped. .............................................................................................................. 110 Figura 9 - Cena onde uma Punk é forçada a comer um rato em They Eat Scum. .. 111 Figura 10 - Nick Zedd à esquerda em Whoregasm (1988)...................................... 124 Figura 11 - Da esquerda para direita: Normal Love (Jack Smith ,1963), Lucifer Rising (Kenneth Anger, 1972) e Menstrual Envy (Nick Zedd, 1992). ................................. 125 Figura 12 - Lydia Lunch em The Right Side Of My Brain (1984). ............................ 127 Figura 13 - A gangue punk formada pelas personagens: (da esq.) Bod, Crabs, Miss Amyl Nitrate, Chaos................................................................................................. 132 Figura 14 - Diretor João Carlos Rodrigues em cena mandando seu recado ao público. .................................................................................................................... 152 Figura 15 - Personagens Arkham e Escobar no porão do Casarão. ....................... 155 Figura 16 - Visão subjetiva da câmera de Don Letts em Punk Rock Movie. ........... 165 Figura 17 - Ray Gange (cuspindo) em Rude Boy. ................................................... 169 Figura 18 - Amyl Nitrate (Jordan) em Jubilee. ......................................................... 170 Figura 19 - Personagens Amyl Nitrate Nitrate, Mad (com a faca) e Bod em Jubilee ................................................................................................................................ 171 Figura 20 - Frame do filme Why Do You Exist? ...................................................... 174 10 SUMÁRIO 1. INTRODUÇÃO ................................................................................................... 11 2. UMA JORNADA PUNK ...................................................................................... 18 2.1 O CONCEITO TRANSITÓRIO DO PUNK ........................................................ 18 2.2 PUNK E SUA ECONOMIA ............................................................................... 26 3. O PUNK E SUA HISTÓRIA ................................................................................ 48 3.1 ANTECEDENTES ............................................................................................ 48 3.2 PUNK AMERICANO ........................................................................................ 54 3.3 PUNKS BRITÂNICOS ...................................................................................... 68 3.4 PUNK BRASILEIRO ......................................................................................... 77 4. EM BUSCA DO CINEMA PUNK ........................................................................ 82 4.1 PUNK NO CINEMA OU CINEMA PUNK? ........................................................ 82 4.2 ANTECEDENTES DO CINEMA PUNK ...........................................................
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