Toda Nudez Será Castigada (Arnaldo Jabor, 1972) para além de Nelson Rodrigues um encontro com O Último Tango em Paris (Bernardo Bertolucci, 1972)

• Autor(a) principal: Marques Fernandes, Gabriel
• Data de Publicação: 2024
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Rebeca (São Paulo)
• Texto Completo: https://rebeca.socine.org.br/1/article/view/915
• topic: Toda Nudez Será Castigada; Último Tango em Paris; Adaptação; Modernidade; Cinema Brasileiro; História; Adaptação; Nelson Rodrigues; Arnaldo Jabor; Toda Nudez Será Castigada; All Nudity Shall Be Punished; Last Tango in Paris; Adaptation; Modernity; Toda Nudez Será Castigada; Último Tango en Paris; Adaptación; Modernidad

This article problematizes interpretive empire of Nelson Rodrigues on All Nudity Shall Be Punished (Arnaldo Jabor, 1972). Considering, along with Robert Stam, that the idea of ​​fidelity in a cinematographic adaptation is a rhetorical-publicity strategy, the intrigue that this text seeks to resolve is: there’s a possible reading of All Nudity Shall Be Punished beyond Nelson Rodrigues? Using Pascal Ory and Walter Benjamin, during the investigation of period sources, published in the press, and academic research, the crystallization of Rodriegue's representation is questioned when we explore, with the help of Georges Didi-Huberman, the phantasmatic relations between the experiences of Jabor's film with Last Tango in Paris (Bernardo Bertolucci, 1972) – following the comparison made by several critics who, over time, were neglected by Rodrigues/Jabor's heritage on the film. It is considered, therefore, that, through this incursion, we can reflect on the formation of humanity (anchored, theoretically, in Ernst Cassirer and Hannah Arendt) in a country with traditions of colonizer (Last Tango) and, another, of colonized (All Nudity), highlighting that: in Brasil there is a visible distinction between modernization and modernity, as there is a lack of awareness about what it is to be human.