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Dissertacao Renatafelisatti Pós Banca De DEFESA FINAL PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Renata Felisatti Gonçalves Pereira Elas, outras, algumas MESTRADO EM PSICOLOGIA CLÍNICA São Paulo 2021 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO Renata Felisatti Gonçalves Pereira Elas, outras, algumas Dissertação apresentada à Banca ExaMinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestra eM Psicologia Clínica sob orientação da Profa. Dra. Suely Belinha Rolnik. São Paulo 2021 Autorizo exclusivaMente para fins acadêMicos e científicos, a reprodução total ou parcial desta Dissertação de Mestrado por processos de fotocopiadoras ou eletrônicos. Assinatura_________________________ Data______________________________ e-mail_____________________________ Renata Felisatti Gonçalves Pereira Elas, outras, algumas Dissertação apresentada à Banca ExaMinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestra eM Psicologia Clínica sob orientação do Profa. Dra. Suely Belinha Rolnik. Aprovada eM: __/__/__ Banca ExaMinadora ______________________________________ Profa. Dra. Suely Belinha Rolnik (orientadora) Pontifícia Universidade Católica (PUC-SP) ______________________________________ Prof. Dr. Peter Pál Pelbart Pontifícia Universidade Católica (PUC-SP) ______________________________________ Profa. Dra. Rosane Preciosa Sequeira Universidade Federal de Juiz de Fora (UFJF) TE amo demais. Você me permite ser quem eu sou. Mesmo sendo muitas. E essas muitas encontram as suas muitas. Je t’aime. Masi: dentro de mim tem você. Agradeço às mulheres maravilhosas e aos seres femininos incríveis desta jornada Masi Torres. Ana Carolina Magarão Silva Costa. Cristhiane Camargo Rocha. Marina Dias. Luciana Nigoghossian Santos. Angela_Xu Barbarulo. Mirian Aikel Mansour. Mariana Brasil. Tatiana Barbosa. Bruna Pacheco. Caroline Margoni. Ana Paula Brieda Gomes. José Cavalhero Simon Jr. John Anthony Mendes Bartholomew. Bel Santos Mayer. Rafaela Campostrini Forzza. Thatiana Santos. Gabriela Cunha Ferraz. Maristela Vendramel Ferreira. Jordana Berg. Bruno Leal. Morena Buser. Fábio Henrique Arevalo. Paula Cobo-Guevara. Maria Eduarda Parizan Checa. Ana Lígia Vitta. Patricia Ermel. Ana Luiza Braga. Maria Luiza Proença de Freitas. Angela Donini. Suely Rolnik. Denise B. Sant’Anna. Peter Pál Pelbart. Rosane Preciosa. Ana Maria Preve. Ana Godoy. Aos meus pais, Ana Luisa e José Horácio pelo apoio eterno. Aos meus irmãos, Juliano e Rodrigo, por estarem neste caminho comigo. À minha mulher, te amo, Masi. RESUMO PEREIRA, Renata Felisatti Gonçalves. Elas, outras, algumas. 2021. Dissertação (Mestrado eM Psicologia Clínica) – Pontifícia Universidade Católica de São Paulo, São Paulo, 2021. Essa pesquisa foi feita por uma mulher montadora. Trata-se de um pensamento da montagem que busca trazer à tona as vozes de mulheres, as montadoras de cinema e contadoras de estórias pelas imagens e sons. As mulheres, ao longo da história e da história do cinema foram sendo apagadas e suas estórias nunca contadas. Essa pesquisa explicita um modo de pensar, de fazer cinema por meio das estórias de algumas mulheres e da criação de personagens que emprestam as suas vozes e corpos para contar parte dessa estória de forma que a voz seja sempre de uma mulher e de seus processos e relações. Palavras-chave: Mulheres. MontageM. CineMa. Ficção. Subjetividades. ABSTRACT PEREIRA, Renata Felisatti Gonçalves. They, others, some women. 2021. Dissertation (Master’s degree in Clinical Psychology) – Pontifícia Universidade Católica de São Paulo, São Paulo, 2020. This research was done by a woman film editor. This is a thought of montage/editing (process) that seeks to bring out women’s voice, the women film editors and women storytellers through images and sounds. The women, throughout the history and the history of cinema/films, have been erased and their stories never told. This research explains a way of thinking, of making films through the stories of some women and the creation of characters who lend their voices and bodies to tell part of this story, so that the voice is always of a woman and her process and relations. Keywords: Women. FilM Editing/Montage. CineMa/Films. Fiction. Subjectivities. SUMÁRIO INTRODUÇÃO ............................................................................................................ 12 PRIMEIRA CONVERSA | GRADA E ELA OU DESOBEDIÊNCIAS POÉTICAS ........................................................................................................................................ 14 SEGUNDA CONVERSA | PETER, PAULA E ELA OU IMAGINAÇÕES .......... 18 UNIVERSO TERCEIRA CONVERSA | ELAS, EL_S OU PEQUENOS FRAGMENTOS......... 21 CENA INTERNA COZINHA. EXTERNA ESTRADA. INTERNA CASINHA | BATES ........................................................................................................................... 25 FRAGMENTO | AGRADO ......................................................................................... 29 QUARTA CONVERSA | MARGUERITE, FÉLIX, SUELY, A OUTRA E ELA OU RUPTURA DOS SENTIDOS ...................................................................................... 33 AS MÁQUINAS OU TODA CENA É UMA FICÇÃO .............................................. 36 AS MÁQUINAS CENA INTERNA QUARTO | ELLA ......................................................................... 40 QUINTA CONVERSA | MORENA, BRUNO, ANA LÍGIA, PAULA, CYNTHIA, FÁBIO, PETER E ELA OU DIVERSAS VOZES ..................................................... 43 A MONTAGEM ...................................................................................................... 48-77 I REFLEXÕES DE UMA MONTADORA ................................................................... 48 II ELAS E A MONTAGEM .......................................................................................... 49 III O JOGO E ELAS OU... ............................................................................................. 52 IV JOGO DE CENA OU JORDANA B. ........................................................................ 55 V ALGUMAS MONTADORAS .................................................................................. 59 VI UMA OUTRA GRAMÁTICA SINGULAR DA MONTAGEM ............................ 64 VII THE FUTURE AND THE PAST ARE FEMALES OU ESTÓRIAS NÃO CONTADAS .................................................................................................................. 70 SEXTA CONVERSA | ELAS OU FLERTE ............................................................... 78 FRAGMENTO | MULHER REFUGIADA ............................................................... 80 QUARENTENA SÉTIMA CONVERSA | KUNICHI, PETER, A OUTRA E ELA OU A EXPERIÊNCIA DE TRATAR A IMAGEM COMO TEXTO ................................. 84 OITAVA CONVERSA | ELAS OU O CANTO DA SEREIA ................................... 86 FRAGMENTO | MULHER AFRICANA ................................................................... 89 CENA INTERNA RÁDIO | NAOME ......................................................................... 92 CENA INTERNA CASA | NAOME .................................................................. 94 OUTRA CENA INTERNA RÁDIO | NAOME .................................................. 96 NONA CONVERSA | SUELY, PETER E ELA OU COMO NASCEU ALICE ..... 98 CENA INTERNA CONSULTÓRIO | ALICE ......................................................... 100 DÉCIMA CONVERSA | PERCI, MIRIAN, ANA LUIZA E ELA OU UMA OUTRA LÍNGUA ...................................................................................................................... 104 FRAGMENTO | MULHER VERDE ........................................................................ 107 DÉCIMA-PRIMEIRA CONVERSA | AS OUTRAS OU AMOR AO PRIMEIRO AFETO ........................................................................................................................ 112 A IMAGEM INCONSCIENTE OU EMBRIÕES DE MUNDOS .......................... 119 REFERÊNCIAS [ATRAVESSAMENTOS AFETIVOS] ....................................... 133 Todo esse texto é inspirado nas mulheres. The world is female, always. Rosane P.: Então, o que eu não sei, sinceramente, talvez, falando, te ouvindo, ouvindo depois o Peter, a própria Suely, é que, eu não vejo que é um material que fica imperturbavelmente fechado, eu acho que ele vaza, vai ter buracos. Por quê? Porque mesmo ela vai experimentando várias montagens de si. Suely R.: Trabalhar com a palavra, nomear aquilo que você está sentindo, deslocando a palavra. E quanto mais chegamos perto do afeto na palavra, mais estamos abertas às experiências vivas, às possibilidades de florescer. E em nome do afeto, eu me abro para a experimentação com a outra. ELA: Como está se sentindo? INTRODUÇÃO Yo quiero ser mujer sin modelos que imitar. (María Galindo1) Nas fogueiras não estavam apenas os corpos de “bruxas”, destruídos; também estava todo um universo de relações sociais que fora a base do poder social das mulheres e um vasto conhecimento que elas haviam transmitido, de mãe para filha, ao longo de gerações. Somos as netas de todas as bruxas que vocês não conseguiram queimar. (Silvia Federici2) Desde pequena sou fascinada pelos mundos que não são o meu. São os mundos delas. Por isso gosto de ouvir e contar estórias. Você entra em contato com outras narrativas. É um fascínio mesmo pela outra. E quanto mais diversa, mais sedutora. Este trabalho é uma declaração de amor a algumas mulheres. Elas fazem parte de mim. Um corpo feito de poros de afetos produzidos por essas mulheres. A
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