UNIVERSIDADE ANHEMBI MORUMBI ADEMIR SILVEIRA CORRÊA CINEMA QUEERITÉ: Gêneros E Identidades Minoritárias No Documentário Pa

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UNIVERSIDADE ANHEMBI MORUMBI ADEMIR SILVEIRA CORRÊA CINEMA QUEERITÉ: Gêneros E Identidades Minoritárias No Documentário Pa UNIVERSIDADE ANHEMBI MORUMBI ADEMIR SILVEIRA CORRÊA CINEMA QUEERITÉ: Gêneros e Identidades Minoritárias no Documentário Paris is Burning SÃO PAULO 2017 ADEMIR SILVEIRA CORRÊA CINEMA QUEERITÉ: Gêneros e Identidades Minoritárias no Documentário Paris is Burning Dissertação de Mestrado apresentada à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Pós-Graduação em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação da Profa. Dra. Bernadette Lyra SÃO PAULO 2017 Ficha catalográfica elaborada pela Biblioteca UAM com os dados fornecidos pelo(a) autor(a) C84c Corrêa, Ademir Silveira Cinema Queerité: gêneros e identidades minoritárias no documentário Paris is Burning / Ademir Silveira Corrêa. - 2017. 111f. ; 30cm. Orientador: Bernadette Lyra. Dissertação (Mestrado em Comunicação). -- Universidade Anhembi Morumbi, São Paulo, 2017. Bibliografia: f. 103-111. 1.Análise fílmica. 2. Novo cinema queer. 3. Identidade de gênero 4. Documentário I. Título CDD 302.2 ADEMIR SILVEIRA CORRÊA CINEMA QUEERITÉ: Gêneros e Identidades Minoritárias no Documentário Paris is Burning Dissertação de Mestrado apresentado à Banca Examinadora, como exigência parcial para a obtenção do título de Mestre do Programa de Pós-Graduação em Comunicação, área de concentração em Comunicação Audiovisual da Universidade Anhembi Morumbi, sob a orientação do Profa. Dra. Bernadette Lyra Aprovado em ----/-----/----- Profa Bernadette Lyra / Dra / UAM Prof. Wilton Garcia / Dr / UNISO Prof. Rogério Ferraraz / Dr / UAM Para todos os viados, transviados, desviados, sapatas, travecos, mulheres-macho, drags e fanchas, que fazem de suas vidas também um ato de alegria. Para todas as protagonistas de Paris is Burning, que ousaram sonhar em suas impossibilidades. E para todos que se tornarão ainda mais bichas depois deste trabalho de saída do armário. AGRADECIMENTOS A minha orientadora, prof. Dra. Bernadette Lyra, que me aceitou em sua House of Lyra com o carinho e a sapiência de uma mother. Meus mais sinceros agradecimentos pelos momentos de sabedoria compartilhados, pelas provocações queer, pela confiança não-normativa e pelos abraços afetuosos (em texto e ação). Aos professores Wilton Garcia e Rogério Ferraraz, que aceitaram o convite para este baile-texto acadêmico altamente subversivo. Ao professor Renato Pucci, que orientou meus pensamentos no decorrer do curso, sempre lembrando que citações não se autoexplicam. Ao professor Vicente Gosciola pelo @julietacapuleto, nossa adaptação coletiva e transexual de Romeu e Julieta. Ao Vicente Concilio, pelo exercício de paciência e pela eterna discussão – que é também sua forma de se importar. A Lidia Paula pelo encontro de almas irmãs na vida. Ao trio ternura Maira Toledo, Leyslie Martins e Fabiana Guerra, pela amizade e pelas risadas infinitas. À Taty Kanter, porque tudo isso começou em uma conversa na sacada. Aos meus colegas de mestrado e aos meus amigos, que me ouviram (ouvir, nos dias barulhentos de hoje, é amor dos mais puros). Aos meus pais, pela resiliência. “Nós todos nascemos nus. E o resto é drag” (RuPaul Charles). RESUMO O documentário Paris is Burning (1990), de Jennie Livingston, ao filmar o circuito de bailes do bairro nova-iorquino do Harlem no final da década de 1980, constrói-se em seu encontro com o cinema-verdade e com o new queer cinema, pondo em tela as identidades minoritárias como proposta prática das definições da Teoria Queer para a vida. O objetivo desta pesquisa é desenvolver uma reflexão crítica sobre o filme para reconhecer em seu fazer cinematográfico a urgência da temática LGBTQIA (Lésbicas, Gays, Bissexuais, Transgêneros, Queer, Intersexuais e Assexuais) para identidades, desejos e práticas culturais como representatividade na narrativa e a construção de gênero experimentada por gays, mulheres transexuais e drag queens negros e latinos como respostas para a pluralidade da experiência humana. A metodologia utilizada se ancora na prática da análise fílmica e na reconstituição de cenas, performances e diálogos, através de reflexões que abarcam o cinema documental, a cultura de massa, o reconhecimento queer. Os resultados apontam para o registro de personagens representativas de identidades minoritárias que se posicionam também em sua marcação da diferença, a fim de perpetuar uma luta de sobrevivência que se afirma na criação da cultura queer de baile. Palavras-chave: Análise fílmica; Novo cinema queer; Identidade de gênero; Documentário ABSTRACT Paris is Burning (1990), a documentary by Jennie Livingston, when filming the ballroom circuit of the Harlem’s neighborhood in New York at the end of the 1980s, is built on its encounters with cinéma vérité and the new queer cinema movements, documenting minority identities as a practical proposal for the definitions of the Queer Theory for life. The purpose of this research is to develop a critical reflection to analyze this film, to recognize in its the urgency of the LGBTQIA themes for identities, desires and practices as narrative representations and the gender construction of gays, transgender women and black and Latino drag queens as answers to the plurality of human experience. The methodology used is anchored in the practice of film analysis and the reconstitution of scenes, performances and dialogues through reflections that include documentary film, mass culture and Queer Theory point to the documentary record of characters representative of minority identities that are also positioned in their differences, in order to perpetuate a survival struggle that is affirmed in the creation of queer ballroom culture. Keywords: Film analysis; New queer cinema; Gender Identity; Documentary LISTA DE FIGURAS Figura 1 Pepper Labeija 30 Figura 2 Angie Xtravaganza 30 Figura 3 Dorian Corey 30 Figura 4 Willi Ninja 30 Figura 5 Octavia Saint Laurent 31 Figura 6 Venus Xtravaganza 31 Figura 7 Freddie Pendavis 31 Figura 8 Brooke e Carmen Xtravaganza 65 Figura 9 Brooke Xtravaganza 65 Figura 10 Mão de Octavia aponta Paulina Porizkova em ensaio 69 Figura 11 Octavia se prepara para um ensaio de fotos 70 Figura 12 Octavia posa para ensaio vista sob o olhar masculino 71 Figura 13 Venus Xtravaganza está na rua em tomada que marca o início da reconstituição da morte desta protagonista 73 Figura 14 Foto de Pepper Labeija, ainda jovem, em competição de drag 78 Figura 15 Cartela de espaço-tempo 86 Figura 16 Kim Pendavis 87 Figura 17 Willi Ninja apresentando o voguing 92 Figura 18 Categoria Bangee girl 94 Figura 19 Categoria militar 95 Figura 20 Categoria Luscious body 96 Figura 21 Categoria Schoolboy/ school girl realness 96 Figura 22 Categoria Town and Country 97 Figura 23 Categoria High fashion evening wear 97 Figura 24 Categoria Executive realness 97 Figura 25 Categoria Butch queen first time in drags at a ball 98 Figura 26 Love Ball AIDS Benefit 99 SUMÁRIO INTRODUÇÃO – A FESTA DAS IDENTIDADES 12 1 PARIS IS BURNING: DEPOIS DAQUELE BAILE 23 1.1 O baile no filme 23 1.2 O filme no baile 38 2 QUEER: ENCENAÇÕES E CENAS 50 2.1 Queer is Burning 50 2.2 Identidade is Burning 64 3 REFLEXOS DE UM BAILE 82 3.1 Por uma certa cultura queer 82 CONSIDERAÇÕES FINAIS 101 REFERÊNCIAS BIBLIOGRÁFICAS 103 12 INTRODUÇÃO: A FESTA DAS IDENTIDADES Paris is Burning, o filme, foca sua narrativa no Paris is Burning, o baile. Dirigido por Jennie Livingston, o documentário, lançado em 1990, narra uma festa específica, que acontecia na boate Imperial Elks Lodge1, no bairro do Harlem, em Nova Iorque2, a qual faz parte do circuito de drag balls (os bailes drag) da cidade. Essa manifestação mostra a organização informal da comunidade gay, lésbica e transexual, latina e negra. Remete e remete aos bailes de máscara hétero e homossexuais – ocorridos nas décadas de 1920 e 1930 – os quais, além de diversão, ofereciam proteção e locais seguros (GARBER, 1989) para encontros inter-raciais3, o exercício da sexualidade e a prática do cross-dressing (quando se usa a vestimenta atribuída do gênero oposto ao do nascimento). Em Nova Iorque, o fenômeno passa de grandes bailes de máscara dos anos de 1920 e 1930 a outros de menor vulto, organizados por drag queens nas décadas seguintes (CUNNINGHAM, 1998). A singularidade da manifestação posterior dessas festas, como o baile filmado por Jennie Livingston, que mostra uma proliferação de categorias competitivas de desfile, está na criação de uma cultura dos bailes também fora delas, cultura esta ligada a gangues latinas (porto-riquenhas) e negras dispostas em casas, as houses4 (CRUZ-MALAVÉ, 2007). A partir dos anos de 1970, veteranos dos bailes de 1950 e 1960 tornaram-se mothers e fathers dessas casas e uniram seus clãs de afinidade em locais “onde toda uma geração de crianças abandonadas encontrariam proteção, status e amor” (CRUZ-MALAVÉ, 2007, p. 180, tradução nossa)5. Os desfiles dos anos de 1980/90 pedem que seus inscritos obedeçam a categorias específicas ligadas ao vestuário, aos trejeitos (capacidade de mimetização), aos movimentos de dança e mímica e à personificação do ideal 1 O Imperial Elks Lodge ficava no número 160W da Rua 129. 2 Segundo Lucas Hilderbrand (2013), os bailes também aconteciam em cidades como Nova Orleans, Chicago e Washington. 3 O historiador Eric Garber (1989) em A spectacle in color: the lesbian and gay subculture of Jazz Age Harlem afirma que a população negra do bairro do Harlem do período de 1920/1930 vem da imigração norte-americana logo após a abolição da escravatura em que esta comunidade parte das áreas rurais dos Estados Unidos na busca de refúgios
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