Banca de DEFESA: GLEICE LINHARES DE AZEVÊDO

The Sertão is Neon: transversalities and pluralities of gender identities in the film Boi Neon by Gabriel Mascaro

Boi neon - Neon bull, Cinema, Masculinities, Contemporary Hinterland.

This paper aims to comprehend instituted speeches by contemporary cinematographic images, about hinterland and the prevailing gender issues, mainly, countryside masculinity construction setting in a breaking and continuity way, with regard to moral codes which shape this reality. To achieve this, we get started from a timeline between the years 2000 to 2015, which had as a landmark of some regional film productions with hinterland themes, such Cinema, aspirins and vultures (2005), Luneta do tempo (2014), and soap operas genre, with The Enchanted Tale (2011) production. In addition to these, we also worked here with Boi Neon - Neon Bull movie (2015) directed by Gabriel Mascaro, which was one of the the basic source of this writing. The theoretical and methodological framework is structured on Michel Foucault's discourse analysis, aiming to understand the various layers of meanings that constitute, mainly cinematographic images, actually for the study that we propose to carry out here. This analysis also started from the use of the archaeological method of images, that is, an excavation of the visual layers that constitute our way of seeing the hinterland, based on the suppositions presented by the art historian Georges Didi - Huberman. The theoretical discussion is also based on Queer Theory to understand the new gender relations that are brings in the filmic narrative of Boi Neon - Neon Bull, from the conceptions of Judith Butler (2021) and the reflections of Richard Miskolci (2021) and Guacira Lopes (2018) by all means when they think about gender as a normative construction in culture and the possibility of experiencing another diversity, other ways of exercising masculinity in a different way. plural, beyond the norms. In this sense, based on Didi-Huberman's concept of image survivor or symptom image, we conclude that the images of the hinterlands that preceded the production of Boi Neon are surviving images of other previous visual productions (such as the films of Cinema Novo and Retomada) and that the images captured by Boi Neon are action-images, which, in turn, are critical images, transgressors of a given visuality of the hinterlands and of the time of these images. In this matter, the images around the male and female body here, spatiality are, in a way, deconstructed and different from the elaborations already made around the countryside person, just as it is hinterland/wild from the film's perspective. Therefore, the contemporary hinterland of Boi Neon is a movement of temporal passages - the archaic and the new, of the past and the present, of bodies in "dilatation" and, finally, a hinterland in transit.