Imagens do prazer em Uma janela para o Amor e Maurice
Autor(a) principal: | |
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Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Entrepalavras |
Texto Completo: | http://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566 |
Resumo: | According to Laura Mulvey (1983), Hollywood cinema structured the erotic following patriarchal order through visual pleasure. But in English heritage films, this arrangement is challenged, once we notice the interchange between subjects and objects of pleasure by means of an opening to conveying female looks and homoerotic images. In this work I analyze images centered on man’s figure or that of romantic love from female and gay perspectives in A Room with a View (1986) and Maurice (1987), directed by James Ivory. Such films seem to offer an alternative way in order to balance traditional representations in cinema which placed women as object of male desire. By that I mean Ivory’s films incorporate female and gay visual pleasure, whose looks project themselves into conservative spaces, as it is the case of English society in the beginning of 20th century, thus they fulfil an important role for the expression and diversification of desires, identifications, and narratives, challenging oppressive mechanisms and prejudice typical of patriarchal order. Besides some notions taken from Mulvey (1983), I go through Caughie (1997), Higson (2003) and Monk (2011), attempting contextualize important issues on British cinema, and Jost (2004), in order to analyze the construction of point of view in the cinema. |
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Imagens do prazer em Uma janela para o Amor e MauriceImagens do prazer em Uma janela para o Amor e MauriceBritish cinema; James Ivory; Visual pleasure.Erotismo e mídiasCinema britânico; James Ivory; Prazer visual.According to Laura Mulvey (1983), Hollywood cinema structured the erotic following patriarchal order through visual pleasure. But in English heritage films, this arrangement is challenged, once we notice the interchange between subjects and objects of pleasure by means of an opening to conveying female looks and homoerotic images. In this work I analyze images centered on man’s figure or that of romantic love from female and gay perspectives in A Room with a View (1986) and Maurice (1987), directed by James Ivory. Such films seem to offer an alternative way in order to balance traditional representations in cinema which placed women as object of male desire. By that I mean Ivory’s films incorporate female and gay visual pleasure, whose looks project themselves into conservative spaces, as it is the case of English society in the beginning of 20th century, thus they fulfil an important role for the expression and diversification of desires, identifications, and narratives, challenging oppressive mechanisms and prejudice typical of patriarchal order. Besides some notions taken from Mulvey (1983), I go through Caughie (1997), Higson (2003) and Monk (2011), attempting contextualize important issues on British cinema, and Jost (2004), in order to analyze the construction of point of view in the cinema.Segundo Laura Mulvey (1983), o cinema hollywoodiano codificou o erótico dentro da ordem patriarcal através do prazer visual. Já nos filmes de herança, essa ordem é desafiada, uma vez que se percebe o intercâmbio entre sujeitos e objetos de prazer através da abertura para olhares femininos e imagens homoeróticas. Nesse trabalho, analiso imagens centradas na figura do homem ou do amor a partir da perspectiva de personagens femininos e homossexuais, nos filmes Uma Janela para o Amor (1986) e Maurice (1987), do diretor James Ivory. Os filmes em questão sugerem uma via alternativa para construções que tradicionalmente colocavam a mulher como objeto do desejo masculino. Assim, os filmes de Ivory incorporam o prazer visual de mulheres e homossexuais, detentores de um olhar que se projeta em espaços conservadores, como a sociedade inglesa do início do século XX, e assim cumprem um importante papel na expressão e diversificação de desejos, identificações, e narrativas que desafiam os mecanismos de opressão e os preconceitos caros à ordem patriarcal. Além de algumas noções retiradas de Mulvey (1983), recorro a Caughie (1997), Higson (2003) e Monk (2011), para contextualizar questões pertinentes ao cinema britânico, e Jost (2004), para tratar da construção do ponto de vista no cinema.Universidade Federal do CearáFAPESBSouza, José Ailson Lemos de2016-07-17info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionPesquisa histórica e críticaapplication/pdfhttp://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/56610.22168/2237-6321.5.5.3 esp.253-268Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-2682237-6321reponame:Entrepalavrasinstname:Universidade Federal do Ceará (UFC)instacron:UFCporhttp://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566/320info:eu-repo/semantics/openAccess2019-04-30T21:18:37Zoai:ojs.localhost:article/566Revistahttp://www.entrepalavras.ufc.br/revista/index.php/Revista/indexPUBhttp://www.entrepalavras.ufc.br/revista/index.php/Revista/oaiwebmaster@entrepalavras.ufc.br||editor@entrepalavras.ufc.br2237-63212237-6321opendoar:2019-04-30T21:18:37Entrepalavras - Universidade Federal do Ceará (UFC)false |
dc.title.none.fl_str_mv |
Imagens do prazer em Uma janela para o Amor e Maurice Imagens do prazer em Uma janela para o Amor e Maurice |
title |
Imagens do prazer em Uma janela para o Amor e Maurice |
spellingShingle |
Imagens do prazer em Uma janela para o Amor e Maurice Souza, José Ailson Lemos de British cinema; James Ivory; Visual pleasure. Erotismo e mídias Cinema britânico; James Ivory; Prazer visual. |
title_short |
Imagens do prazer em Uma janela para o Amor e Maurice |
title_full |
Imagens do prazer em Uma janela para o Amor e Maurice |
title_fullStr |
Imagens do prazer em Uma janela para o Amor e Maurice |
title_full_unstemmed |
Imagens do prazer em Uma janela para o Amor e Maurice |
title_sort |
Imagens do prazer em Uma janela para o Amor e Maurice |
author |
Souza, José Ailson Lemos de |
author_facet |
Souza, José Ailson Lemos de |
author_role |
author |
dc.contributor.none.fl_str_mv |
FAPESB |
dc.contributor.author.fl_str_mv |
Souza, José Ailson Lemos de |
dc.subject.none.fl_str_mv |
|
dc.subject.por.fl_str_mv |
British cinema; James Ivory; Visual pleasure. Erotismo e mídias Cinema britânico; James Ivory; Prazer visual. |
topic |
British cinema; James Ivory; Visual pleasure. Erotismo e mídias Cinema britânico; James Ivory; Prazer visual. |
description |
According to Laura Mulvey (1983), Hollywood cinema structured the erotic following patriarchal order through visual pleasure. But in English heritage films, this arrangement is challenged, once we notice the interchange between subjects and objects of pleasure by means of an opening to conveying female looks and homoerotic images. In this work I analyze images centered on man’s figure or that of romantic love from female and gay perspectives in A Room with a View (1986) and Maurice (1987), directed by James Ivory. Such films seem to offer an alternative way in order to balance traditional representations in cinema which placed women as object of male desire. By that I mean Ivory’s films incorporate female and gay visual pleasure, whose looks project themselves into conservative spaces, as it is the case of English society in the beginning of 20th century, thus they fulfil an important role for the expression and diversification of desires, identifications, and narratives, challenging oppressive mechanisms and prejudice typical of patriarchal order. Besides some notions taken from Mulvey (1983), I go through Caughie (1997), Higson (2003) and Monk (2011), attempting contextualize important issues on British cinema, and Jost (2004), in order to analyze the construction of point of view in the cinema. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-07-17 |
dc.type.none.fl_str_mv |
|
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Pesquisa histórica e crítica |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566 10.22168/2237-6321.5.5.3 esp.253-268 |
url |
http://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566 |
identifier_str_mv |
10.22168/2237-6321.5.5.3 esp.253-268 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
http://www.entrepalavras.ufc.br/revista/index.php/Revista/article/view/566/320 |
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 |
Universidade Federal do Ceará |
publisher.none.fl_str_mv |
Universidade Federal do Ceará |
dc.source.none.fl_str_mv |
Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268 Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268 Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268 Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268 Entrepalavras; v. 5, n. 3 esp (5): Erotismo e(m) Linguagens; 253-268 2237-6321 reponame:Entrepalavras instname:Universidade Federal do Ceará (UFC) instacron:UFC |
instname_str |
Universidade Federal do Ceará (UFC) |
instacron_str |
UFC |
institution |
UFC |
reponame_str |
Entrepalavras |
collection |
Entrepalavras |
repository.name.fl_str_mv |
Entrepalavras - Universidade Federal do Ceará (UFC) |
repository.mail.fl_str_mv |
webmaster@entrepalavras.ufc.br||editor@entrepalavras.ufc.br |
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1798329729522073600 |