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Bogart Duplo De Bogart: Pistas Da Persona Cinematográfica De Humphrey Bogart, 1941-46 / Luís Felipe Sobral

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Bogart Duplo De Bogart: Pistas Da Persona Cinematográfica De Humphrey Bogart, 1941-46 / Luís Felipe Sobral FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO IFCH - UNICAMP Bibliotecária: Cecília Maria Jorge Nicolau CRB nº 3387 Sobral, Luís Felipe So12b Bogart duplo de Bogart: pistas da persona cinematográfica de Humphrey Bogart, 1941-46 / Luís Felipe Sobral. - - Campinas, SP : [s. n.], 2010. Orientador: Heloísa André Pontes. Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas. 1. Bogart, Humphrey, 1899-1957. 2. Gênero. 3. Masculinidade. 4. Atores e atrizes – Estados Unidos. I. Pontes, Heloísa André. II. Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humanas. III.Título. Título em inglês: Bogart Double of Bogart: clues of the screen persona of Humphrey Bogart, 1941-46 Palavras chaves em inglês Gender (keywords) : Masculinity Film actors – United States Área de Concentração: Antropologia Social Titulação: Mestre em Antropologia Social Banca examinadora: Heloísa André Pontes, Heloísa Buarque de Almeida, Silvana Rubino Data da defesa: 14-04-2010 Programa de Pós-Graduação: Antropologia Social 2 Resumo As páginas seguintes consistem em uma etnografia histórica do olhar hollywoodiano. Em particular, descreve a sedimentação da persona cinematográfica de Humphrey Bogart (1899-1957) na primeira metade da década de 1940. O foco analítico é duplo: por um lado, está atento às relações de gênero inscritas em suas performances; por outro, procura relacionar sua trajetória social e a estrutura de produção industrial de Hollywood. Uma descontinuidade interpõe-se entre a interpretação do artista diante da câmera e sua imagem projetada na tela: o trabalho de vários outros profissionais (roteirista, técnico de som, editor etc.) completa o processo até o lançamento do filme, quando é avaliado por público e crítica. No cinema, a performance artística submete-se à câmera, que executa a mediação de todo o processo; ao aparato técnico corresponde a persona cinematográfica, que não se resume nem ao intérprete nem aos seus personagens: ao mesmo tempo em que une estes — delineando um modelo de gênero —, também proporciona àquele o estabelecimento social na estrutura de produção. O caso de Bogart oferece um recorte circunscrito porque sua persona emergiu de forma linear em meia década (após anos de investimento), quando Hollywood se organizava em um modo de produção denominado sistema de estúdios, no qual cada estúdio desenvolvia um estilo próprio e controlava toda a produção industrial de um filme, do roteiro à exibição — e, portanto, a autonomia relativa do artista era estreitíssima. Através de uma série de pistas oriundas de fontes diversas (filmes, literatura, biografias, historiografia), esta dissertação argumenta que experiência social e cultura visual são inseparáveis, defende que a persona de Bogart (símbolo canônico de masculinidade) alimentava-se da tensão dramática entre a indiferença aparente e a vulnerabilidade súbita, e, finalmente, demonstra que a relação entre Bogart e sua persona caracterizava-se pela alteridade. Palavras-chave: 1. Bogart, Humphrey (1899-1957); 2. Hollywood: etnografia histórica; 3. Estudos de gênero: masculinidades. 5 Abstract The following pages consist in a historical ethnography of the Hollywood eye. In particular, it describes the sedimentation of the screen persona of Humphrey Bogart (1899- 1957) in the first half of the 1940s. The analytical focus is twofold: on the one hand, pays attention to the gender relations inscribed in his performances; on the other, seeks to relate his social trajectory and Hollywood’s industrial structure of production. A discontinuity goes between an artist’s interpretation in front of the camera and his/her correspondent projected image on the screen: the work of numerous other professionals (screenwriter, sound technician, editor etc.) completes the process until the film release, when it is evaluated by public and critic. In cinema, the artistic performance is submited to the camera, that executes the mediation of the entire process; to the technical aparatus corresponds the screen persona, that does not resume itself to the interpreter nor his/her characters: at the same time that unites these — outlining a model of gender — it also supplies to the former the social setting in the structure of production. The Bogart case offers a circumscribed picture because his persona emerged in a linear form in half a decade (after years of investment), when Hollywood organized itself through a mode of production called studio system, where each studio developed its own style and controled the entire industrial production of a film, from screenplay to exhibition — and therefore the relative autonomy of the artist was very narrow. Through a series of clues collected from various sources (films, literature, biographies, historiography), this dissertation argues that social experience and visual culture are inseparable, defends that Bogart’s persona (a canonical symbol of masculinity) was nourished by the dramatic tension between the apparent indifference and the sudden vulnerability, and finally demonstrates that the relation between Bogart and his persona was characterized by otherness. Key Words: 1. Bogart, Humphrey (1899-1957); 2. Hollywood: historical ethnography; 3. Gender studies: masculinities. 7 Aos meus pais, Regina e Antonio, que trouxeram-me até aqui 9 Ao outro, a Borges, é que sucedem as coisas. Eu caminho por Buenos Aires e me demoro, talvez já mecanicamente, para olhar o arco de um vestíbulo e o portão gradeado; de Borges tenho notícias pelo correio e vejo seu nome numa lista tríplice de professores ou num dicionário biográfico. Agradam-me os relógios de areia, os mapas, a tipografia do século XVIII, as etimologias, o gosto do café e a prosa de Stevenson; o outro compartilha essas preferências, mas de um modo vaidoso que as transforma em atributos de um ator. Seria exagerado afirmar que nossa relação é hostil; eu vivo, eu me deixo viver, para que Borges possa tramar sua literatura, e essa literatura me justifica. Não me custa nada confessar que alcançou certas páginas válidas, mas essas páginas não podem me salvar, talvez porque o bom já não seja de ninguém, nem mesmo do outro, mas da linguagem ou da tradição. Além disso, estou destinado a perder-me, definitivamente, e só um ou outro instante de mim poderá sobreviver no outro. Pouco a pouco lhe vou cedendo tudo, embora conheça seu perverso costume de falsear e magnificar. Spinoza entendeu que todas as coisas querem perseverar em seu ser; a pedra eternamente quer ser pedra e o tigre um tigre. Eu permanecerei em Borges, não em mim (se é que sou alguém), mas me reconheço menos em seus livros do que em muitos outros, ou do que no laborioso rasqueado de uma guitarra. Há alguns anos tentei livrar-me dele e passei das mitologias do arrabalde aos jogos com o tempo e com o infinito, mas esses jogos agora são de Borges e terei de imaginar outras coisas. Assim minha vida é uma fuga e tudo eu perco e tudo é do esquecimento, ou do outro. Não sei qual dos dois escreve esta página. Jorge Luis Borges Borges e eu 11 Sumário Resumo ......................................................................................................................... 5 Abstract ......................................................................................................................... 7 Agradecimentos ............................................................................................................ 15 Introdução ..................................................................................................................... 17 1. O beijo de Spade ........................................................................................................ 27 2. O triângulo amoroso ................................................................................................. 71 3. A caixa de fósforos ................................................................................................... 97 Ilustrações ..................................................................................................................... 123 Crédito das ilustrações .................................................................................................. 135 Bibliografia ................................................................................................................... 137 Filmes citados ............................................................................................................... 141 Ficha técnica dos filmes analisados .............................................................................. 143 13 Agradecimentos Esta dissertação é produto de seis anos de trabalho, desde que, no início do curso de ciências sociais, decidi estudar o cinema de Hollywood. Esse percurso — que contou com o apoio de bolsas de iniciação científica e de mestrado do CNPq e da Fapesp — está em débito com muitas pessoas; a seguir, procuro elencar as mais diretamente envolvidas com este trabalho. Em primeiro lugar, agradeço ao Programa de Pós-Graduação em Antropologia Social da Unicamp pela confiança e apoio; à secretária de antropologia, Maria José Rizola, pela presteza do atendimento, assim como aos funcionários das bibliotecas da Faculdade de Educação, do Instituto de Artes, do Instituto de Estudos de Linguagem e do Instituto de Filosofia e Ciências Humanas, e também aos do setor de cópias deste último — sem os quais não se poderia fazer pesquisa alguma. Às velhas amizades do tempo de graduação — Aline Martins, Maurício de Almeida, Valencio de Oliveira —, agradeço
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