Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge Furtado

<p>Three contemporary movie narratives produced in Rio Grande do Sul by Jorge Furtado were analized. The objective is to investigate the films from the point of view of genre in the cultural and relational dimensions of the category, showing the differences between the female characters. The...

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Main Authors: Ana Carolina D. Escosteguy, Cristiane Freitas Gutfreind, Ricardo Romanoff Antunes, Guilherme Brendler
Format: Article
Language:Portuguese
Published: Universidade Federal do Rio Grande do Sul 2008-12-01
Series:Intexto
Subjects:
Online Access:http://seer.ufrgs.br/index.php/intexto/article/view/6870
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author Ana Carolina D. Escosteguy
Cristiane Freitas Gutfreind
Ricardo Romanoff Antunes
Guilherme Brendler
author_facet Ana Carolina D. Escosteguy
Cristiane Freitas Gutfreind
Ricardo Romanoff Antunes
Guilherme Brendler
author_sort Ana Carolina D. Escosteguy
collection DOAJ
description <p>Three contemporary movie narratives produced in Rio Grande do Sul by Jorge Furtado were analized. The objective is to investigate the films from the point of view of genre in the cultural and relational dimensions of the category, showing the differences between the female characters. The three movies chosen for this debate are: Houve uma Vez Dois Ver&otilde;es (2002), O Homem que Copiava (2003) and Meu Tio Matou um Cara (2004). Although the movies have the narration by the male characters in off, there are the women who, preponderantly break out the plot conflicts. From this observation it was concluded that the dynamics of the male&acute;s view has been flexible, although keeping some of their original characteristics.</p>
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spelling doaj.art-54704a7f7c2443c7bf1272def841a9292022-12-21T22:46:05ZporUniversidade Federal do Rio Grande do SulIntexto1807-85832008-12-010174323Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge FurtadoAna Carolina D. EscosteguyCristiane Freitas GutfreindRicardo Romanoff AntunesGuilherme Brendler<p>Three contemporary movie narratives produced in Rio Grande do Sul by Jorge Furtado were analized. The objective is to investigate the films from the point of view of genre in the cultural and relational dimensions of the category, showing the differences between the female characters. The three movies chosen for this debate are: Houve uma Vez Dois Ver&otilde;es (2002), O Homem que Copiava (2003) and Meu Tio Matou um Cara (2004). Although the movies have the narration by the male characters in off, there are the women who, preponderantly break out the plot conflicts. From this observation it was concluded that the dynamics of the male&acute;s view has been flexible, although keeping some of their original characteristics.</p>http://seer.ufrgs.br/index.php/intexto/article/view/6870GêneroIdentidades CulturaisCinema gaúcho
spellingShingle Ana Carolina D. Escosteguy
Cristiane Freitas Gutfreind
Ricardo Romanoff Antunes
Guilherme Brendler
Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge Furtado
Intexto
Gênero
Identidades Culturais
Cinema gaúcho
title Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge Furtado
title_full Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge Furtado
title_fullStr Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge Furtado
title_full_unstemmed Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge Furtado
title_short Notas para (Re)Ver as Relações Entre o Feminino e o Masculino nos Longa-Metragens de Jorge Furtado
title_sort notas para re ver as relacoes entre o feminino e o masculino nos longa metragens de jorge furtado
topic Gênero
Identidades Culturais
Cinema gaúcho
url http://seer.ufrgs.br/index.php/intexto/article/view/6870
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