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DO INVISÍVEL AO VISÍVEL Em Busca De Imagens Da Lesbianidade Ana Cláudia Gruszynski Bruno Guimarães Martins Adriana Agostini Márcio Souza Gonçalves

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DO INVISÍVEL AO VISÍVEL Em Busca De Imagens Da Lesbianidade Ana Cláudia Gruszynski Bruno Guimarães Martins Adriana Agostini Márcio Souza Gonçalves DO INVISÍVEL AO VISÍVEL Em busca de imagens da lesbianidade Ana Cláudia Gruszynski Bruno Guimarães Martins Adriana Agostini Márcio Souza Gonçalves ¶ e s e t tese ¶ da lesbianidade Em buscadeimagens AO VISÍVEL DO INVISÍVEL Adriana Agostini UNIVERSIDADE FEDERAL DE MINAS GERAIS Reitora: Sandra Regina Goulart Almeida Vice-Reitor: Alessandro Fernandes Moreira FACULDADE DE FILOSOFIA E CIÊNCIAS HUMANAS Diretor: Bruno Pinheiro Wanderley Reis Vice-Diretora: Thais Porlan de Oliveira PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO Coordenadora: Ângela Cristina Salgueiro Marques Sub-Coordenador: Eduardo de Jesus SELO EDITORIAL PPGCOM Bruno Souza Leal Nísio Teixeira CONSELHO CIENTÍFICO Ana Carolina Escosteguy (PUC-RS) Kati Caetano (UTP) Benjamim Picado (UFF) Luis Mauro Sá Martino (Casper Líbero) Cezar Migliorin (UFF) Marcel Vieira (UFPB) Elizabeth Duarte (UFSM) Mariana Baltar (UFF) Eneus Trindade (USP) Mônica Ferrari Nunes (ESPM) Fátima Regis (UERJ) Mozahir Salomão (PUC-MG) Fernando Gonçalves (UERJ) Nilda Jacks (UFRGS) Frederico Tavares (UFOP) Renato Pucci (UAM) Iluska Coutinho (UFJF) Rosana Soares (USP) Itania Gomes (UFBA) Rudimar Baldissera (UFRGS) Jorge Cardoso (UFRB | UFBA) www.seloppgcom.fafich.ufmg.br Avenida Presidente Antônio Carlos, 6627, sala 4234, 4º andar Pampulha, Belo Horizonte - MG. CEP: 31270-901 Telefone: (31) 3409-5072 Dados Internacionais de Catalogação na Publicação (CIP) (eDOC BRASIL, Belo Horizonte/MG) Agostini, Adriana. A275d Do visível ao invisível [recurso eletrônico] : em busca de imagens da lesbianidade / Adriana Agostini. – Belo Horizonte, MG: Faculdade de Filosofia e Ciências Humanas, 2020. Formato: PDF Requisitos de sistema: Adobe Acrobat Reader Modo de acesso: World Wide Web Inclui bibliografia ISBN 978-85-54944-40-7 1. Comunicação. 2. Identidade de gênero. 3. Minorias sexuais – Condições sociais. I. Título. CDD 306.76 Elaborado por Maurício Armormino Júnior – CRB6/2422 CRÉDITOS DO E-BOOK © PPGCOM/UFMG, 2020. CAPA E PROJETO GRÁFICO Atelier de Publicidade UFMG Bruno Guimarães Martins COORDENAÇÃO DE PRODUÇÃO Daniel Melo Ribeiro DIAGRAMAÇÃO Lucas Henrique Nigri Veloso REVISÃO Luiz Morando À Frida, pela magia do amor verdadeiro If you’re lucky, you see yourself reflected back to you: in your family, in stories, in movies and television. You are made visible through love and trough culture. Jennifer Beals À Frida, pelos melhores anos da minha vida. Te amo. À Olga, minha mãe, grande incentivadora, generosa e linda. À Júlia, pelo amor, cumplicidade, paixão e alegria de estarmos juntas. Ao Prof. Bruno Souza Leal, porque temos um longo, harmonioso e carinhoso percurso. Obrigada, mais uma vez, pela serenidade, sabedoria e segurança. À Luiza, pelo amor, parceria e respeito, forever and ever; e pela enorme colaboração neste trabalho também! À Perna, sempre presente, eterno colo. Perna, não me abandone jamais. Aos professores da UFMG, especialmente ao Carlos Alberto, precioso crítico que acompanha este percurso desde o início; ao Carlos Mendonça, pelo carinho e pelas valiosas contribuições, desde o Mestrado; ao Paulo Bernardo, porque o aprendizado pode e deve ser leve. A todas as mulheres que participaram da série The L Word, especialmente às telespectadoras. Sumário Prefácio A Lesbolândia à nossa volta, ao nosso olhar 13 Introdução Preliminares, lésbicas é claro 17 Capítulo 1 Com vocês, de Safo à Shane, as sapas 25 1.1 Lésbicas na história: espionando os armários 29 1.2 Armários abertos, que venha a visibilidade 42 1.3 No cinema e na televisão 43 1.4 Na telinha 61 1.5 Lésbicas na TV brasileira 65 1.6 Muito além das telas 72 1.7 Nas prateleiras 74 Capítulo 2 Lesbiandades, entre o passado e o futuro 83 2.1 Em três tempos, a lesbianidade 87 2.2 Passado e futuro em The L Word 99 Capítulo 3 Justify my love 101 3.1 Um diagrama em rede ou as teias das aranhas 104 Capítulo 4 The L Word, escancarando os armários 111 4.1 De Bette Porter a Lilith, o sexo frágil (?) vai à luta 117 4.2 Sete vampiras lésbicas nos castelos da ficção 141 4.3 De mordida em mordida 144 4.4 Vale a sedução 147 4.5 Prazer garantido e eterno 153 4.6 A androginia é feminina 155 4.7 Melhor de dois 156 4.8 Ah, é feminina 161 4.9 Shane McCutcheon, a inédita 162 Capítulo 5 Lesbolândias: o visível do invisível 177 Referências Bibliográficas 191 Apêndice 1 The L Word - O quadro 203 Apêndice 2 Filmes 219 Apêndice 3 The L Word: Resumo das temporadas 271 13 A Lesbolândia à nossa volta, ao nosso olhar Bruno Souza Leal Há uma antiga piada frequentemente contada para caracterizar a fleuma inglesa. Ela diz da ocasião de uma grande e inesperada enchente do Tâmisa e dos esforços do mordomo de avisar a Sua Alteza Real da necessidade de sair do palácio, prestes a ser inundado. A cada vez que o mordomo entrava no cômodo onde estava Sua Alteza, iniciando a frase “Alteza, o Tâmisa...”, era interrompido, uma vez que a Sua Majestade estava ocupada com algo e não desejava ser incomodada. Cada vez mais desespe- rado, o mordomo mantinha a educada e polida insistência, sempre fracas- sada, até que não teve alternativa: abriu uma porta, deixou as águas do rio invadirem o cômodo, e disse, no tom sóbrio e elegante de todas as vezes: “Alteza, o Tâmisa”. Se a Regente Real dessa piada fosse a Rainha Victória, certamente a história ganharia contornos mais irônicos. Afinal, foi essa Rainha que, ao ser inquirida sobre a possibilidade de proibição de sexo entre mulheres – a exemplo da que havia decretado em relação a homens –, teria respondido: não posso proibir o que não existe. Não é incomum ouvir falar de invisibilidade lésbica, seja na dificuldade de implementar uma pauta específica no âmbito dos movimentos femi- nistas ou da luta pelos direitos das pessoas LGBTQ+, seja na produção 14 DO INVISÍVEL AO VISIVEL: EM BUSCA DE IMAGENS DA LESBIANIDADE cultural – da literatura às produções audiovisuais, passando pela música -, seja no cotidiano, as mulheres lésbicas ora “passariam batido”, ora teriam que lidar com poucas, limitadas, por vezes ambíguas, imagens. A invisi- bilidade então estaria assentada nos desafios de fazer ouvir as reivindica- ções específicas das mulheres lésbicas na busca da plena cidadania e na pequena circulação de ícones, de referências culturais, de personalidades conhecidas que deem cara, corpo e forma à diversidade dos seus modos de ser, comportar, amar, etc. Quando tenho em perspectiva a trajetória de Adriana Agostini, entendo que todo seu trabalho acadêmico vai na direção contrária a essa invisibili- dade. Há desafios diversos? Certamente. Mas as mulheres lésbicas estão aí, no mundo, amando, sendo amadas, fazendo amigos, sonhando, brigando, conquistando, sofrendo. E isso há muitos anos! Se a parente lésbica muitas vezes não tem lugar na foto de família ou passa “despercebida” em meio aos demais, isso não se dá apenas por lesbofobia e hierarquias diversas. Acontece também porque as mulheres lésbicas resistem e inovam, desa- fiam o olhar, exigem ser vistas a seu modo e porque suas formas de visi- bilidade podem ser mais complexas e sutis do que se poderia supor. Em outras palavras: é preciso ter olhos para ver... Neste livro e no anterior (“Lésbicas na TV: The L word”), Adriana Agos- tini propõe uma agenda positiva, que não se acomoda com o diagnóstico da invisibilidade das mulheres lésbicas. Em ambas as obras, a icônica série estadunidense ocupa um lugar especial, decisivo, pelo seu ineditismo, pela força de suas personagens, pelo diálogo com as espectadoras de diferentes partes do mundo. Este “Do invisível ao visível: em busca de imagens da lesbianidade” é assentado num arriscado gesto metodológico e reflexivo. “The L Word” serve de ponto de partida, de âncora intertextual, para que Adriana rastreie imagens da lesbianidade nas nossas heranças culturais e à nossa volta. A investigação intertextual sofisticada que empreende está articulada a um olhar historicizante, atenta às mudanças, contextualiza- ções e transformações. Assim, Adriana promove um (re)encontro com personagens variadas, de Safo à Mulher-Maravilha, da Tonhão, da “TV Pirata” a sapas e heroínas de quadrinhos, e nos conduz instigante e sabo- rosamente a uma deriva por vales e montanhas da Lesbolândia à nossa volta. PREFÁCIO 15 “Do invisível ao visível: em busca de imagens da lesbianidade” é uma tese inédita e ousada e é também um texto atraente e sedutor. Foi escrita num momento de mais esperança que este em que é publicado. Frente aos reacionários desejos de desmonte e de volta a um passado ruim, o livro de Adriana Agostini se mostra novamente corajoso e muito necessário. Ele reabre o passado não para que fiquemos nele e sim para que olhemos para o futuro, em busca de mais e mais visibilidade, ícones, referências – e com todas as transformações sociais que isso positivamente implica. A Lesbolândia não está no armário: está entre nós e é parte deste mesmo mundo em que todos vivemos. Assim, com Adriana, abrimos a porta e dizemos (elegantemente, por supuesto): “Sua Alteza (Sr. Presidente, Sra. Ministra, Sr. Juiz): o Tâmisa, ops, a Lesbolândia!” 16 17 Introdução Preliminares, lésbicas é claro Esta pesquisa nasceu do desejo de tornar visível o invisível. A partir das leituras realizadas para a dissertação de Mestrado, dedicada a um estudo de personagens da série The L Word1 e finalizada em 2010, surgiu a necessidade de um trabalho que investigasse a visibilidade lésbica na ficção. Optou-se por trabalhar com a lesbianidade no Ocidente, tendo como referência dois parâmetros: o Brasil e os EUA. Entende-se o Brasil como parâmetro por ser o local de onde se origina o olhar desta tese. Entretanto, por motivos que serão expostos a seguir, não haverá a análise das produções aqui realizadas, embora elas sejam lembradas ao longo do percurso. Já as produções norte-americanas ganharão um olhar mais atento, até mesmo pelo seu poder de difusão e, consequen- temente, de visibilidade.
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