Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies
Autor(a) principal: | |
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Data de Publicação: | 2011 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | E-Compós |
DOI: | 10.30962/ec.541 |
Texto Completo: | https://www.e-compos.org.br/e-compos/article/view/541 |
Resumo: | This article aims to discuss aspects of the horror genre in five feature films made in Sao Paulo in the 50’s. These movies, inspired by what Mary Ann Doane (1987) called "paranoid woman's films" made in Hollywood in the 1940s, may have had some influence on horror brazilian films, including the seminal At midnight I’ll take your soul (1964), by José Mojica Marins, considered the first and greatest representative of the horror genre in brazilian cinema. |
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Brazilian paranoid woman films: The imagery of the second women in Brazilian horror moviesCine brasileño de mujeres paranoicas: las Las imágenes de las segundas mujeres en el cine de terror brasilenõFilmes brasileiros de mulheres paranóicas: as segundas mulheres e o horror no cinema brasileiroCinema brasileiroFilmes de mulherHorrorThis article aims to discuss aspects of the horror genre in five feature films made in Sao Paulo in the 50’s. These movies, inspired by what Mary Ann Doane (1987) called "paranoid woman's films" made in Hollywood in the 1940s, may have had some influence on horror brazilian films, including the seminal At midnight I’ll take your soul (1964), by José Mojica Marins, considered the first and greatest representative of the horror genre in brazilian cinema.Este artículo tiene como objetivo discutir los aspectos del género de terror en cinco largometrajes realizados en Sao Paulo em los anos 1950. Las obras, inspiradas por lo que Mary Ann Doane (1987) llama "películas de mujeres paranoicas" de Hollywood de la década de 1940, pudo haber tenido alguna influencia en las películas de terror brasileñas más tarde, incluyendo la película seminal A la medianoche tomaré tu alma (1964), del cineasta y actor José Mojica Marins, considerado el más grande representante del género terror em el cine brasileño.Tem-se como objetivo discutir aspectos do gênero horror presentes em cinco longas-metragens paulistas protagonizados por mulheres durante os anos 1950. Quer-se sugerir que tais obras, inspiradas no que Mary Ann Doane (1987) chamou de “paranoid woman’s films” hollywoodianos dos anos 1940, podem ter tido alguma influência sobre filmes de horror brasileiros posteriores, entre os quais o seminal longa-metragem À meia-noite levarei sua alma (1964), do cineasta e ator paulista José Mojica Marins, tido como o primeiro e maior representante do gênero em nosso cinema.ABEC2011-09-26info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.e-compos.org.br/e-compos/article/view/54110.30962/ec.541E-Compós; Vol. 14 No. 1 (2011)E-Compós; Vol. 14 Núm. 1 (2011)E-Compós; v. 14 n. 1 (2011)1808-2599reponame:E-Compósinstname:Associação Nacional dos Programas de Pós-Graduação em Comunicaçãoinstacron:ANPPCporhttps://www.e-compos.org.br/e-compos/article/view/541/510Cánepa, Laura Loguercioinfo:eu-repo/semantics/openAccess2023-11-06T21:36:17Zoai:ojs.www.e-compos.org.br:article/541Revistahttps://www.e-compos.org.br/e-compos/PUBhttps://www.e-compos.org.br/e-compos/oairevistaecompos@gmail.com1808-25991808-2599opendoar:2023-11-06T21:36:17E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicaçãofalse |
dc.title.none.fl_str_mv |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies Cine brasileño de mujeres paranoicas: las Las imágenes de las segundas mujeres en el cine de terror brasilenõ Filmes brasileiros de mulheres paranóicas: as segundas mulheres e o horror no cinema brasileiro |
title |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies |
spellingShingle |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies Cánepa, Laura Loguercio Cinema brasileiro Filmes de mulher Horror Cánepa, Laura Loguercio Cinema brasileiro Filmes de mulher Horror |
title_short |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies |
title_full |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies |
title_fullStr |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies |
title_full_unstemmed |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies |
title_sort |
Brazilian paranoid woman films: The imagery of the second women in Brazilian horror movies |
author |
Cánepa, Laura Loguercio |
author_facet |
Cánepa, Laura Loguercio Cánepa, Laura Loguercio |
author_role |
author |
dc.contributor.author.fl_str_mv |
Cánepa, Laura Loguercio |
dc.subject.por.fl_str_mv |
Cinema brasileiro Filmes de mulher Horror |
topic |
Cinema brasileiro Filmes de mulher Horror |
description |
This article aims to discuss aspects of the horror genre in five feature films made in Sao Paulo in the 50’s. These movies, inspired by what Mary Ann Doane (1987) called "paranoid woman's films" made in Hollywood in the 1940s, may have had some influence on horror brazilian films, including the seminal At midnight I’ll take your soul (1964), by José Mojica Marins, considered the first and greatest representative of the horror genre in brazilian cinema. |
publishDate |
2011 |
dc.date.none.fl_str_mv |
2011-09-26 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.e-compos.org.br/e-compos/article/view/541 10.30962/ec.541 |
url |
https://www.e-compos.org.br/e-compos/article/view/541 |
identifier_str_mv |
10.30962/ec.541 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.e-compos.org.br/e-compos/article/view/541/510 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ABEC |
publisher.none.fl_str_mv |
ABEC |
dc.source.none.fl_str_mv |
E-Compós; Vol. 14 No. 1 (2011) E-Compós; Vol. 14 Núm. 1 (2011) E-Compós; v. 14 n. 1 (2011) 1808-2599 reponame:E-Compós instname:Associação Nacional dos Programas de Pós-Graduação em Comunicação instacron:ANPPC |
instname_str |
Associação Nacional dos Programas de Pós-Graduação em Comunicação |
instacron_str |
ANPPC |
institution |
ANPPC |
reponame_str |
E-Compós |
collection |
E-Compós |
repository.name.fl_str_mv |
E-Compós - Associação Nacional dos Programas de Pós-Graduação em Comunicação |
repository.mail.fl_str_mv |
revistaecompos@gmail.com |
_version_ |
1822180529694310400 |
dc.identifier.doi.none.fl_str_mv |
10.30962/ec.541 |