João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People
Autor(a) principal: | |
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Data de Publicação: | 2022 |
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Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Mídia.e.Cotidiano |
Texto Completo: | https://periodicos.uff.br/midiaecotidiano/article/view/54618 |
Resumo: | This article starts from the concern of a black subject-researcher to investigate how colonialities contribute to the reconfiguration of racism in the narrative, historical and audiovisual, of the Brazilian counterculture icon, João Francisco dos Santos, inspiration for the film Madame Satã (2002). In an attempt to claim the condition of subject, instead of objectifying this artist, it focuses on racial studies, anchoring itself, mainly, on black authors, as well as on decolonial studies. It is concluded that, although part of the artistic life of João Francisco dos Santos is portrayed, racism, as well as LGBTQIAP+phobias, are re-elaborated in the popular imagination from the maintenance of racist nicknames, even in the work of Karim Aïnouz, narrative fictional where there is room for fables. |
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João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People João Francisco dos Santos no es Madame Satan: Colonialidades, Racismo y la disputa de Imaginarios sobre Sujetos Negros LGBTQIAP+João Francisco dos Santos não é Madame Satã: Colonialidades, Racismo e a disputa de Imaginários acerca de Sujeitos Negros LGBTQIAP+ João Francisco dos SantosRacismoCineNegruraMadame SatanJoão Francisco dos SantosRacismCineBlacknessMadam SatanJoão Francisco dos SantosRacismoCinemaNegritudeMadame SatãThis article starts from the concern of a black subject-researcher to investigate how colonialities contribute to the reconfiguration of racism in the narrative, historical and audiovisual, of the Brazilian counterculture icon, João Francisco dos Santos, inspiration for the film Madame Satã (2002). In an attempt to claim the condition of subject, instead of objectifying this artist, it focuses on racial studies, anchoring itself, mainly, on black authors, as well as on decolonial studies. It is concluded that, although part of the artistic life of João Francisco dos Santos is portrayed, racism, as well as LGBTQIAP+phobias, are re-elaborated in the popular imagination from the maintenance of racist nicknames, even in the work of Karim Aïnouz, narrative fictional where there is room for fables.Este artículo parte de la preocupación de un sujeto-investigador negro por investigar cómo las colonialidades contribuyen a la reconfiguración del racismo en la narrativa, histórica y audiovisual, del ícono de la contracultura brasileña, João Francisco dos Santos, inspiración de la película Madame Satã (2002). En un intento de reivindicar la condición de sujeto, en lugar de objetivar a este artista, se centra en los estudios raciales, anclándose, principalmente, en autoras y autores negros, así como en estudios decoloniales. Se concluye que, aunque se retrata parte de la vida artística de João Francisco dos Santos, el racismo, así como las fobias LGBTQIAP+, se reelaboran en el imaginario popular a partir del mantenimiento de apodos racistas, incluso en la obra de Karim Aïnouz, narrativa ficcional donde hay espacio para las fabulaciones.Este artigo parte da inquietação de um sujeito-pesquisador negro em investigar como as colonialidades contribuem na reconfiguração do racismo na narrativa, histórica e audiovisual, do ícone da contracultura brasileira, João Francisco dos Santos, inspiração para o filme Madame Satã (2002). Na tentativa de reivindicar a condição de sujeito, no lugar da objetificação desse artista, debruça-se sobre os estudos raciais, ancorando-se, principalmente, em autoras e autores negras, bem como nos estudos decoloniais. Conclui-se que, ainda que se retrate parte da vida artística de João Francisco dos Santos, o racismo, bem como as LGBTQIAP+fobias, são reelaborados no imaginário popular a partir da manutenção de alcunhas racistas, mesmo na obra de Karim Aïnouz, narrativa ficcional onde há espaço para fabulações.ABEC2022-12-15info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.uff.br/midiaecotidiano/article/view/5461810.22409/rmc.v17i1.54618Revista Mídia e Cotidiano; v. 17 n. 1 (2023): Protagonismos, resistências e circulação das pesquisas em Comunicação: expectativas renovadas em 2023; 75-972178-602X10.22409/rmc.v17i1reponame:Mídia.e.Cotidianoinstname:Universidade Federal Fluminense (UFF)instacron:UFFporhttps://periodicos.uff.br/midiaecotidiano/article/view/54618/33390Copyright (c) 2022 Revista Mídia e Cotidianoinfo:eu-repo/semantics/openAccessAlberto de Carvalho, Carlos Rodrigues Higidio, Aleone2022-12-15T14:28:10Zoai:ojs.pkp.sfu.ca:article/54618Revistahttps://periodicos.uff.br/midiaecotidiano/indexPUBhttps://periodicos.uff.br/midiaecotidiano/oaimidiaecotidiano.ega@id.uff.br||revistamidiaecotidiano@gmail.com2178-602X2178-602Xopendoar:2022-12-15T14:28:10Mídia.e.Cotidiano - Universidade Federal Fluminense (UFF)false |
dc.title.none.fl_str_mv |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People João Francisco dos Santos no es Madame Satan: Colonialidades, Racismo y la disputa de Imaginarios sobre Sujetos Negros LGBTQIAP+ João Francisco dos Santos não é Madame Satã: Colonialidades, Racismo e a disputa de Imaginários acerca de Sujeitos Negros LGBTQIAP+ |
title |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People |
spellingShingle |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People Alberto de Carvalho, Carlos João Francisco dos Santos Racismo Cine Negrura Madame Satan João Francisco dos Santos Racism Cine Blackness Madam Satan João Francisco dos Santos Racismo Cinema Negritude Madame Satã |
title_short |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People |
title_full |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People |
title_fullStr |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People |
title_full_unstemmed |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People |
title_sort |
João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People |
author |
Alberto de Carvalho, Carlos |
author_facet |
Alberto de Carvalho, Carlos Rodrigues Higidio, Aleone |
author_role |
author |
author2 |
Rodrigues Higidio, Aleone |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Alberto de Carvalho, Carlos Rodrigues Higidio, Aleone |
dc.subject.por.fl_str_mv |
João Francisco dos Santos Racismo Cine Negrura Madame Satan João Francisco dos Santos Racism Cine Blackness Madam Satan João Francisco dos Santos Racismo Cinema Negritude Madame Satã |
topic |
João Francisco dos Santos Racismo Cine Negrura Madame Satan João Francisco dos Santos Racism Cine Blackness Madam Satan João Francisco dos Santos Racismo Cinema Negritude Madame Satã |
description |
This article starts from the concern of a black subject-researcher to investigate how colonialities contribute to the reconfiguration of racism in the narrative, historical and audiovisual, of the Brazilian counterculture icon, João Francisco dos Santos, inspiration for the film Madame Satã (2002). In an attempt to claim the condition of subject, instead of objectifying this artist, it focuses on racial studies, anchoring itself, mainly, on black authors, as well as on decolonial studies. It is concluded that, although part of the artistic life of João Francisco dos Santos is portrayed, racism, as well as LGBTQIAP+phobias, are re-elaborated in the popular imagination from the maintenance of racist nicknames, even in the work of Karim Aïnouz, narrative fictional where there is room for fables. |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-12-15 |
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://periodicos.uff.br/midiaecotidiano/article/view/54618 10.22409/rmc.v17i1.54618 |
url |
https://periodicos.uff.br/midiaecotidiano/article/view/54618 |
identifier_str_mv |
10.22409/rmc.v17i1.54618 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.uff.br/midiaecotidiano/article/view/54618/33390 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2022 Revista Mídia e Cotidiano info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2022 Revista Mídia e Cotidiano |
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 |
Revista Mídia e Cotidiano; v. 17 n. 1 (2023): Protagonismos, resistências e circulação das pesquisas em Comunicação: expectativas renovadas em 2023; 75-97 2178-602X 10.22409/rmc.v17i1 reponame:Mídia.e.Cotidiano instname:Universidade Federal Fluminense (UFF) instacron:UFF |
instname_str |
Universidade Federal Fluminense (UFF) |
instacron_str |
UFF |
institution |
UFF |
reponame_str |
Mídia.e.Cotidiano |
collection |
Mídia.e.Cotidiano |
repository.name.fl_str_mv |
Mídia.e.Cotidiano - Universidade Federal Fluminense (UFF) |
repository.mail.fl_str_mv |
midiaecotidiano.ega@id.uff.br||revistamidiaecotidiano@gmail.com |
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1797053446722945024 |