Vítima ou vilão: o tiroteio discursivo entre Lúcio Flávio, O Passageiro da Agonia (1977) e Eu Matei Lúcio Flávio (1979)

• Autor(a) principal: Brum, Bernardo Demaria Ignácio
• Data de Publicação: 2023
• Outros Autores: [e-mail]
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/19529
• topic: Film representation; Crime movies; Death squad; Representação cinematográfica; Cinema policial; Lúcio Flávio; Esquadrão da morte; CIENCIAS SOCIAIS APLICADAS::COMUNICACAO::TEORIA DA COMUNICACAO

This objective work addresses the works Lúcio Flávio, O Passageiro da Agonia (1977), by Hector Babenco, adapted from the homonymous novel-report by José Louzeiro from 1976, and Eu Matei Lúcio Flávio (1979), by Antônio Calmon. Both works talk about the historical character Lúcio Flávio Vilar Lírio, a famous bank robber. The hypothesis is tested that, being works that dialogue about the figure of the bandit during the Brazilian Military Regime, the works are produced under the discursive matrix of the police genre and use similar strategies to radically diverge from each other: from the delinquent or as anti – tragic hero or as an antagonist. For this, the dissertation will place the reader in a socio-historical and artistic context from Paes Manso (2020), Lima (1980), Galeazzi (2017), Freire (2006) and Hingst (2013). From there, it conceptualizes discursive genres seen through Bakhtin (2016), Xavier (1985), Freire (2011) and O'Brien (2012). It then deepens the composition of the two films and the discourse punctuated by their narratives through Misse (1999), Mbembe (2018), Butler (2021) and Moreira (2020). With this qualitative bibliographical research, the main objective is carried out: to investigate how the similarities and differences between two films on the same theme are constructed. With this, the analysis intends to deepen the studies on the Brazilian genre cinema made during the period of the Military Regime.