A CRÍTICA À OBJETIFICAÇÃO FEMININA EM VOLVER: UM DIÁLOGO ENTRE FILOSOFIA E CINEMA

• Autor(a) principal: Pedrosa, Tom Menezes
• Data de Publicação: 2021
• Outros Autores: Vieira, Sue Ellen
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Sapere Aude (Belo Horizonte. Online)
• Texto Completo: http://periodicos.pucminas.br/index.php/SapereAude/article/view/25143
• topic: Beauvoir. Almodóvar. Existencialismo. Imanência. Objetificação feminina.

This article develops an in-depth analysis of the feature film Volver, by the Spanish filmmaker Pedro Almodóvar, focusing on aspects that portray the situation of women as Other and their objectification. For this, concepts present in the work The Second Sex, by the existentialist philosopher Simone de Beauvoir, will be mobilized, and will serve as a support for making a diagnosis of the oppressive myths that imprisoned women in their immanence. In this sense, specific characters and scenes will be identified and examined throughout the plot, especially the introductory part of the film, when women still present themselves as mere imagery for the action of men. As a tool for interlocution, in this interlinking between philosophy and cinema, we will use the notion of concept-image by the Argentine philosopher Julio Cabrera who defends that, by provoking the affective dimension (pathos) of the viewer, cinema awakens their cognition (logos), problematizing issues and calling the viewer to reflect on topics that, in the case in question, involve the female condition and his affirmation as a Subject, a theme dear to Beauvoir. KEYWORDS: Beauvoir. Almodóvar. Existentialism. Immanence. Female objectification.