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Bruno Gadelha Xavier.Pdf 1 FACULDADE DE DIREITO DE VITÓRIA DOUTORADO EM DIREITOS E GARANTIAS FUNDAMENTAIS BRUNO GADELHA XAVIER O ENCOURAÇADO ÉTICO: SERGEI EISENSTEIN E PIER PAOLO PASOLINI NA CRÍTICA DA FORMA JURÍDICA CAPITALISTA VITÓRIA 2019 2 BRUNO GADELHA XAVIER O ENCOURAÇADO ÉTICO: SERGEI EISENSTEIN E PIER PAOLO PASOLINI NA CRÍTICA DA FORMA JURÍDICA CAPITALISTA Tese apresentada ao Programa de Pós-Graduação em Direitos e Garantias Fundamentais da Faculdade de Direito de Vitória – FDV, como requisito parcial para a obtenção do grau de Doutor em Direito. Orientadora: Profa. Dra. Elda Bussinguer Coelho de Azevedo. VITÓRIA 2019 3 BRUNO GADELHA XAVIER O ENCOURAÇADO ÉTICO: SERGEI EISENSTEIN E PIER PAOLO PASOLINI NA CRÍTICA DA FORMA JURÍDICA CAPITALISTA Tese apresentada ao Programa de Pós-Graduação em Direitos e Garantias Fundamentais da Faculdade de Direito de Vitória - FDV, como requisito parcial para a obtenção do grau de Doutor em Direito. Aprovado em ____ de __________ de 2019. COMISSÃO EXAMINADORA __________________________________________ Profª. Drª. Elda Bussinguer Coelho de Azevedo Faculdade de Direito de Vitória Orientadora __________________________________________ Profº. Dr.Daury Cezar Fabriz __________________________________________ Profº. Dra. Aloísio Krohling __________________________________________ Profº. Dr. Volnei Garrafa __________________________________________ Profª. Dr.ªGabrielle Bezerra 4 And….I…am…Iron Man. [snaps] (Antony Edward Stark) 5 AGRADECIMENTOS Parte da jornada é o fim... A Deus, por tudo o que ele me possibilitou e me possibilitará ser; Falar que esta tese não seria possível sem a presença de Carlos, Laura, Carla, Tadeu e Carol seria demasiadamente simplório; minha família é minha razão de existência, e sempre estarão para além de qualquer título. Doutorado não é sinônimo de “abrir mão” de quem se ama, e como meu pai diz, “faça um pacto com o tempo, pare de falar mal dele, assim ele não te castigará”. Aos meus amigos, e aqui nomear também seria um grande equívoco, mas que se preocuparam o suficiente para ver se eu havia escrito prenome e nome neste simples pedaço de papel. Podem não constar deste registro meramente formal, mas estarão comigo para sempre, obrigado por todo o apoio. Aos funcionários da Faculdade de Direito de Vitória pela excelente vivência durante os 10 anos que desenvolvi meus estudos neste local. Aos professores da instituição, pelos anos de diálogo e aprendizado, meu agradecimento aqui direcionado em especial a dois grandes mestres: Sr.Airton e Rogério, obrigado pelas lições de vida. Aos membros da banca, com o devido agradecimento a quem tanto me influenciou: Aloísio Krohling e Daury Fabriz, obrigado. Dedico tamém esta tese para minha orientadora, Professora Elda Bussinguer, pela confiança, críticas e valorização de toda minha trajetória de pesquisa. Para Dona Marinalva e Cláudia Gadelha, sempre. 6 RESUMO O presente trabalho tem como objetivo principal uma relação entre Direito e Cinema para crítica ao caráter de exclusão social propiciado pelo sistema econômico capitalista. Para tanto, escolhemos dois diretores de cinema que serão defendidos enquanto matrizes teóricas adequadas para crítica da forma jurídica capitalista, Sergei Eisenstein e Pier Paolo Pasolini. A hipótese central do trabalho é que o prisma demonstrado pelos dois teóricos nos apresentam método para crítica do caráter de classe do direito de matriz formativa eurocêntrica e burguesa. Neste cenário, o debate será intermediado pela Bioética, aqui reconhecida a partir da sua vertente que denominaremos de “(Bio)Ética do Comum”, com a consequente ruptura de alguns modelos que não correspondem uma preocupação materialista histórico-dialética em busca da “Hipótese Comunista”. A matriz marxista estará presente em todo o trabalho, de modo a salientar que a Montagem Intelectual, de Eisenstein, e “A língua escrita da realidade”, de Pasolini nos apresentam críticas ao contexto do Direito como pertencente aos anseios e determinações da classe que concentra propriedade na sociedade capitalista. Assim, serão analisados o corpus teórico de cada autor, respeitando não apenas um debate sobre a arte, como também o conhecimento produzido no campo cinematográfico, com consequente análise dos seguintes filmes: “A Greve”, “O encouraçado Potemkin”, “Accattone”, “O Evangelho Segundo São Matheus”, “Salò: 120 dias de Sodoma”. Uma vez fixada esta estrutura nos três primeiros capítulos, partiremos para um debate sobre o impacto dos métodos aqui estudados no cinema brasileiro, indicando as influências e possibilidade de ruptura social a partir das lentes cinematográficas de Glauber Rocha, quando analisaremos “Deus e o Diabo na Terra do Sol”. Palavras-chave: Forma jurídica capitalista; Cinema; Direitos Fundamentais; Sergei Eisenstein; Pier Paolo Pasolini; Montagem Intelectual; Língua escrita da realidade. 7 RESUMEN El presente trabajo tiene como objetivo principal una relación entre Derecho y Cine para crítica al carácter de exclusión social propiciado por el sistema económico capitalista. Para ello, elegimos dos directores de cine que serán defendidos como matrices teóricas adecuadas para crítica de la forma jurídica capitalista, Sergei Eisenstein y Pier Paolo Pasolini. La hipótesis central del trabajo es que el prisma demostrado por los dos teóricos nos presenta método para crítica del carácter de clase del derecho de matriz formativa eurocéntrica y burguesa. En este escenario, el debate será intermedio por la Bioética, aquí reconocida a partir de su vertiente que denominaremos "(Bio) Ética del Común", con la consiguiente ruptura de algunos modelos que no corresponden a una preocupación materialista histórico-dialéctica en busca de la "Hipótesis Comunista ". La matriz marxista estará presente en todo el trabajo, para subrayar que el Montaje Intelectual, de Eisenstein, y "La lengua escrita de la realidad", de Pasolini nos presentan críticas al contexto del Derecho como perteneciente a los anhelos y determinaciones de la clase que concentra propiedad en la sociedad capitalista. En este sentido, se analizará el corpus teórico de cada autor, respetando no sólo un debate sobre el arte, como también el conocimiento producido en el campo cinematográfico, con el consiguiente análisis de las siguientes películas: "La huelga", "El acorazado Potemkin", "Accattone" , "El Evangelio según San Matheus", "Salò: 120 días de Sodoma". Una vez fijada esta estructura en los tres primeros capítulos, partiremos hacia un debate sobre el impacto de los métodos aquí estudiados en el cine brasileño, indicando las influencias y posibilidad de ruptura social a partir de las lentes cinematográficas de Glauber Rocha, cuando analizaremos "Dios y el Diablo en la" Tierra del Sol ". Palabras clave: Forma jurídica capitalista; cine; Derechos Fundamentales; Sergei Eisenstein; Pier Paolo Pasolini; Montaje Intelectual; Lengua escrita de la realidad. 8 ABSTRACT The present work has as main objective a relation between Law and Cinema to critique the character of social exclusion propitiated by the capitalist economic system. To do so, we chose two film directors who will be defended as theoretical matrices suitable for criticism of the capitalist legal form, Sergei Eisenstein and Pier Paolo Pasolini. The central hypothesis of the work is that the prism demonstrated by the two theorists presents us with a method to critique the class character of the right of formative matrix eurocentric and bourgeois. In this scenario, the debate will be intermediated by Bioethics, here recognized from its perspective that we will call "(Bio) Ethics of the Common", with the consequent rupture of some models that do not correspond to a historical-dialectical materialist concern in search of "Communist Hypothesis ". The Marxist scenario will be present throughout the work, in order to emphasize that Eisenstein's “Intellectual Montage” and Pasolini's "The Written Language of Reality" present us with criticisms of the context of Law as belonging to the yearnings and determinations of the class that concentrates ownership in capitalist society. Thus, the theoretical corpus of each author will be analyzed, respecting not only a debate about art, but also the knowledge produced in the cinematographic field, with consequent analysis of the following films: "Strike", "Battleship Potemkin", "Accattone" , "The Gospel according to St. Matheus", "Salò: 120 days of Sodom". Once this structure is fixed in the first three chapters, we will begin a debate about the impact of the methods studied here in Brazilian cinema, indicating the influences and possibility of social rupture from the cinematic lens of Glauber Rocha, when we will analyze "God and the Devil in the Land of the Sun ". Keywords: Capitalist legal form; Movie theater; Fundamental rights; Sergei Eisenstein; Pier Paolo Pasolini; Intellectual Montage; Written language of reality. 9 RESUMÉ Le présent travail a pour objectif principal une relation entre le droit et le cinéma afin de critiquer le caractère d'exclusion sociale favorisé par le système économique capitaliste. Pour ce faire, nous avons choisi deux réalisateurs qui seront défendus en tant que matrices théoriques propres à critiquer la forme juridique capitaliste, Sergei Eisenstein et Pier Paolo Pasolini. L'hypothèse centrale de l'ouvrage est que le prisme démontré par les deux théoriciens nous présente une méthode pour critiquer le caractère de classe du droit de matrice formative eurocentrique et bourgeois. Dans ce scénario, le débat sera relayé par la bioéthique, reconnue ici sous le nom de "(bio) éthique
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