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Embodying Citizenship in Brazilian Women's Film, Video, And

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Embodying Citizenship in Brazilian Women's Film, Video, And Embodying Citizenship in Brazilian Women’s Film, Video, and Literature, 1971 to 1988 by Leslie Louise Marsh A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in The University of Michigan 2008 Doctoral Committee: Associate Professor Catherine L. Benamou, Co-Chair Assistant Professor Lawrence M. La Fountain-Stokes, Co-Chair Associate Professor Sueann Caulfield Associate Professor Maria E. Cotera Assistant Professor Paulina Laura Alberto A catfish laughs. It thinks of other catfishes In other ponds. ⎯ Koi Nagata © Leslie Louise Marsh 2008 To my parents Linda and Larry Marsh, with love. To all those who helped and supported me in Brazil and To Catherine Benamou, whose patience is only one of her many virtues, my eternal gratitude. ii Table of Contents Dedication ii Abstract iv Chapter 1 Introduction 1 2 The Body and Citizenship in Clarice Lispector’s A 21 Via Crucis do Corpo (1974) and Sonia Coutinho’s Nascimento de uma Mulher (1971) 3 Comparative Perspectives on Brazilian Women’s 90 Filmmaking and the State during the 1970s and 1980s 4 Contesting the Boundaries of Belonging in the Early 156 Films of Ana Carolina Teixeira Soares and Tizuka Yamasaki 5 Reformulating Civitas in Brazil, 1980 to 1989 225 6 Technologies of Citizenship: Brazilian Women’s 254 Independent and Alternative Film and Video, 1983 to 1988 7 Conclusion 342 Sources Consulted 348 iii Abstract Embodying Citizenship in Brazilian Women’s Film, Video, and Literature, 1971 to 1988 by Leslie Louise Marsh Co-Chairs: Catherine L. Benamou and Lawrence M. La Fountain-Stokes This project considers the ways in which various women artists sought to transform society and politics in Brazil during the military regime and during the period of redemocratization, from 1971 to 1988. Through close textual analyses and a review of historical contexts, I discuss the ways in which Brazilian women’s cultural works functioned as modes of political participation to rethink and redefine citizenship during and after the military dictatorship in Brazil. It proceeds by considering the representation of the body in three different arenas of cultural expression – literature, film, and video – as each mode became a viable outlet for women’s voices. I discuss the collection of short stories A Via Crucis do Corpo (1974) by Clarice Lispector, the collection of short stories Nascimento de uma Mulher (1971) by Sonia Coutinho, the early feature-length fiction films by Ana Carolina Teixeira Soares (Mar de Rosas, 1977; Das Tripas Coração, 1982; Sonho de Valsa, 1986) and Tizuka Yamasaki (Gaijin: Os Caminhos da Liberdade, 1980; iv Parahyba, Mulher Macho, 1983; Patriamada, 1984), and films and videos by the independent film and videomaker Eunice Gutman, and videos by The Lilith Video Collective and the non-profit women’s organization SOS-Corpo. The women’s works I have selected reference different modalities of cultural production as well as come from different economic and regional backgrounds. Lastly, this project addresses issues of women’s sexuality and identity, both central to the discussion of citizenship in these women’s works. As it considers the transition process(es) taking place in Brazil from the 1970s and 1980s, this project addresses the ways in which women cultural producers challenged cultural beliefs and political practices. My key questions are: In what ways did these women artists make the body a site of political struggle? In what ways does the representation of the body change over time? How do these works of women’s literature, film, and video contribute to reinventing citizenship in Brazil? v Chapter 1 Introduction This project considers the ways in which various women artists sought to transform society and politics in Brazil during the military regime and during the period of redemocratization. I argue that Brazilian women artists placed the female body at the center of their works to challenge and redefine citizenship during and after the military dictatorship in Brazil. Brazilian women took to three different arenas of cultural expression – literature, film, and video – as each mode became a viable outlet for women’s voices. Ultimately, women’s literature, film, and video from 1971 to 1988 functioned as modes of political participation in the process of rethinking citizenship in Brazil. In this project, I discuss the collection of short stories A Via Crucis do Corpo (1974) by Clarice Lispector, the collection of short stories Nascimento de uma Mulher (1971) by Sonia Coutinho, the early feature-length fiction films by Ana Carolina Teixeira Soares (Mar de Rosas, 1977; Das Tripas Coração, 1982; Sonho de Valsa, 1986) and Tizuka Yamasaki (Gaijin: Os Caminhos da Liberdade, 1980; Parahyba, Mulher Macho, 1983; Patriamada, 1984), films and videos by the independent film and videomaker Eunice Gutman, and videos by The Lilith Video Collective and the non-profit women’s organization SOS-Corpo. The women’s works I have selected reference different modalities of cultural production as well as come from different economic and regional 1 backgrounds. These women artists explore issues of women’s sexuality and identity, making both central to the discussion of citizenship in Brazil during the early 1970s to the late 1980s. In the process, they challenge a masculinist state and patriarchal imaginary that have served to draw the boundaries of belonging in Brazil. As it considers the transition process(es) taking place in Brazil from the 1970s into the 1980s, I address the ways in which women cultural producers challenged cultural beliefs and political practices. Central to my interest rests the notion of citizenship and the reconfiguration of political practice in multicultural, multiethnic, and racially diverse societies. My key questions are: In what ways did these women artists make the body a site of political struggle? In what ways does the representation of the body change over time? How do these works of women’s literature, film and video contribute to the reinvention of citizenship in Brazil after a period of political and social repression? The historical period from the early 1970s to the late 1980s is one of intense contrasts and rich debates. At the same time the authoritarian military regime curtailed civil and political rights, it guided the economic development of the nation and sought to define national identity. Industries were modernized, mass media developed at break-neck speed and the gap widened dramatically between the rich and the poor. The State founded a number of institutions dedicated to promoting Brazilian film, art, and literature, while political dissidents were forced into exile or arrested, tortured, or disappeared. Participation in grassroots organizations swelled throughout Brazil despite violent repression. Although a repressive environment made nongovernmental organizations nearly impossible to found and develop in the 1960s and early 1970s, NGOs eventually 2 addressed a myriad of sociopolitical issues neglected by the authoritarian state in the later 1970s and 1980s. Key to the continued existence of the military dictatorship in Brazil, which lasted from 1964 to 1984, was its ability to control as well as adapt to shifting sociopolitical landscapes. Prior to the period of redemocratization from 1984 to 1988, the dictatorship went through four phases. The first years of the dictatorship (1964-1968) are characterized by relative freedoms of expression, followed by the most repressive and violent period of the regime (1968-1972). A period of slow, political decompression, or distensão, describes the third period from 1974 to 1979, at which time political amnesty was declared. The fourth period, referred to as Abertura, represents a period of political opening during which time a reinvigorated civil society demanded the return to democracy. Lastly, the period of redemocratization began in 1985 and ended with the ratification of a new Brazilian Constitution in 1988. Times of transition tend to be fervent cultural moments. Paola Cesarini suggests that periods of political transition are crucial moments for reshaping the nature of politics and moments for constituting “refounding myths” of the nation and the past. 1 In contradiction to Leonardo Avritzer’s observation of a traditional lack of popular activity in the public space in Latin America, the years encompassing the dictatorship in Brazil also saw masses of civilians taking to the streets to fight for their rights and demand social and political justice.2 1 Paola Cesarini, “Legacies of Injustice in Italy and Argentina,” in Authoritarian Legacies and Democracy in Latin America and Southern Europe (Notre Dame, IN: University of Notre Dame Press, 2004), 163. 2 Leonardo Avritzer, Democracy and the Public Space in Latin America (Princeton, NJ: Princeton University Press, 2002), 3-4. 3 One of the effects of authoritarian regimes is to disrupt relationships between individuals and the larger collectives to which they belong. The body is central to any discussion of individuals’ participation in political life and a departure point for personal identity and political subjectivity. Thus, the body became a key political site for expressing dissatisfaction with the political system under the military dictatorship in Brazil. Artists privileged feelings and action over reason. They distrusted intellectual and theoretical discourses and reevaluated previously accepted myths surrounding the body and the inclusion of individuals
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