Gêneros e(m) deslocamentos Nos Céus de Suely: a personagem feminina e o roteiro em diálogo com a literatura

Abstract

This paper aims to promote the reflection about the media relations between text and image, their links and correspondences in cinematography, and, above all, the text as contemporary literature. To this end, we consider the feature film Love for Sale¹, text (screenplay published) and image (film reproduction), written and directed by renowned Karim Aïnouz, in collaboration with Felipe Bragança and Maurício Zacharias. The 2006 film features a contemporary Northeast in its plot, and the usual male retreatant who moves between the less arduous spaces of life and future gives way to another genre, the feminine. The woman now moves in pursuit of her purposes. The plot tells the story of the young Hermila, 21 year old Ceará, mother of a little, who returns from Sao Paulo to the hometown of Iguatu - CE with the intention of a new (re) beginning. Not born Suely, it becomes. Due to the loving disappointment she suffers, she finds herself able to go beyond the limits and conditions imposed by society on women, such as her relationship with the body and sexual freedom, the right and autonomy to mobility, among others. Considering the notes of Foucault (2013) and Butler (2017), about sexuality and the feminine, for example, we understand that it is a sexually repressed gender, in which the woman would have the contract of procreation and other tasks. In our context, the woman also had her body repressed in patriarchal ways, such as the Europeans, over time: sometimes slave, sometimes prostitute, sometimes wife and mother of children. Thus, Irigaray (apud BUTLER, 2017) comments that the relationship between male and female cannot be represented in a significant economy in which the male is the closed circle of signifier and signifier. In fiction, Hermila is this woman-body who through experience with mobility seeks to understand herself, to be in transition. Is it a new concept of the feminine, a body that migrates and is empowered through its choices and displacements? Text and image result in a film that can affect the perspective of reality and lead to reflection on how a migrant northeastern female body could seek its place, its autonomy and its freedom. Through explanatory research, based on analyzes and articulations of theoretical and documentary-bibliographic currents, we propose to observe not only the existing media dialogue between text and image (filmic), and the issues involving the female gender. but we also take a brief look at the publication of the screenplay genre as post-film physical “work” and the feasibility of its reading not only instructional but literary, as Vera L. Follain de Figueiredo considers.