O ÓDIO E A VIOLÊNCIA NA LITERATURA E NO CINEMA

Revista Extensão em Ação

Endereço:
Avenida da Universidade, 2932, Benfica
Fortaleza / CE
60.020-181
Site: http://www.revistaprex.ufc.br
Telefone: 85 33667459
ISSN: 2316400X
Editor Chefe: Robéria Rodrigues Lopes
Início Publicação: 31/03/2011
Periodicidade: Semestral
Área de Estudo: Comunicação

O ÓDIO E A VIOLÊNCIA NA LITERATURA E NO CINEMA

Ano: 2017 | Volume: 1 | Número: 13
Autores: Tabata Isis Silva Laboreiro
Autor Correspondente: Tabata Isis Silva Laboreiro | [email protected]

Palavras-chave: cinema, psicanálise, literatura, perversão

Resumos Cadastrados

Resumo Português:

O trabalho interroga a problemática do ódio e seus destinos subjetivos e culturais. Para fazer isso, recortam-se aqui elementos do filme Relatos Selvagens e de dois contos de Rubem Fonseca, “Passeio Noturno I” e “Passeio Noturno II”. Aborda-se a forma como estas histórias são contadas e o efeito que desperta em seus leitores/expectadores. Na obra de Fonseca, especificamente nestes contos e no filme dirigido por Szifron, qual a fronteira entre ódio e violência?



Resumo Inglês:

The present paper addresses modes of hatred and violence appearance in the contemporary experience by means of effects achieved by literary and cinematographic works, namely: two short stories by Rubem Fonseca – Passeio Noturno parte I (1973/2004) and Passeio noturno parte II - (1973/2004) – and two movies - Relatos Selvagens (2014), by Damián Szifron and Inglorious Basterds (2009). The discussion unfolds elements presented in the context of the exhibition and debate on movies within the framework of the Cine Freud, Cultura e Arte project, which assigns to Psychoanalysis the function of grounding the proposed debate. Taking as starting point the effects given by such works, we observed that, in what regards to the short stories and to the movie Relatos Selvagens (2014), to every criminal who acts according to their own laws, another order is announced, which, under the disguise of order and norm, conceals their violent faces. Behind the figure of the criminal, there is a whole world that reveals itself in its arbitrariness and in its power to usurp what individuals have as their fundamental mark: their beings as subjects. While in Tarantino’s production, it is presented a violent order (such as slavery and antisemitism) and the response given to this order by subjects who refuse to remain objects of hatred. In the time subversion operated by Tarantino, we hear a current convocation, which reminds us of the possibility of rewriting history and of questioning the places where the violence is committed.