[pt] O objetivo desta tese é interpretar e explicar a multiplicidade das espacialidades homossexuais masculinas produzidas numa sociedade ainda dominada por um discurso heteronormativo e exemplificadas nos filmes Brokeback Mountain, Praia do Futuro e Moonlight. Na atualidade, as questões acerca das identidades sexuais e de gênero vêm ganhando maior destaque em diferentes áreas do conhecimento. Neste trabalho, trazemos tais questões para a ciência geográfica, pois acreditamos que a pluralidade sexual e de gênero precisa ser vista e compreendida a partir de sujeitos com múltiplas trajetórias e particularidades que se cruzam, se conectam e se desconectam, produzindo assim múltiplas geografias, múltiplas espacialidades. Ao nos referirmos aos homossexuais masculinos, percebemos que, em função da homofobia que perdura durante séculos na sociedade, muitos deles tendem a produzir espacialidades desviantes às hegemônicas da heteronorma, como as observadas nos filmes que compõem nossa base empírica. Procuramos realizar uma análise fílmica que ultrapasse a fronteira do entretenimento e nos permita um olhar crítico sobre o mundo em que vivemos e, com isso, evidenciar a produção de espacialidades homossexuais masculinas como um momento inserido num movimento de construção de espacialidades nas quais a desigualdades sejam eliminadas e o direito à diferença esteja garantido. / [en] The objective of this thesis is to interpret and explain the multiplicity of male homosexual spatialities produced in a society still dominated by a heteronormative discourse and exemplified in the films Brokeback Mountain, Praia do Futuro and Moonlight. Currently, issues about sexual and gender identities are gaining greater prominence in different areas of knowledge. In this thesis, we bring such questions to geography, as we believe that sexual and gender plurality needs to be seen and understood from subjects with multiple trajectories and particularities that intersect, connect and disconnect, thus producing multiple geographies, multiple spatialities. When referring to male homosexuals, we realize that, due to the homophobia that lasts for centuries in society, many of them produce spatialities that deviate from the hegemonic heteronormativity, such as those observed in the films Brokeback Mountain, Praia do Futuro and Moonlight. We emphasize the production of male homosexual spatialities as a moment inserted in a movement of construction of spatialities in which inequalities are eliminated and the right to difference is guaranteed.

Le but de ce travail est premièrement celui de contribuer à la stabilisation de l’outil cinématographique au sein des études géographiques. En particulier l’attention sera ciblée sur trois possibles manières d’employer le cinéma au sein de la géographie : le cinéma comme représentation de l’espace, comme imaginaire des lieux et enfin comme exemple conceptuel. Dans le détail, la recherche concernera essentiellement les imaginaires des espaces urbains au sein du cinéma-catastrophe, en s’interrogeant notamment sur la capacité de ces films de constituer un nouveau régime de visibilité de l’urbain. Le corpus d’analyse se compose de soixante-deux films, issus pour la plupart du genre de la science-fiction. De ce point de vue, l’idée de départ est celle de conjuguer la dimension temporelle (en particulier les idées de futur) que la science-fiction présuppose, avec la dimension spatiale de l’urbain. La première relation entre cet imaginaire et les réalités urbaines fait suite à une interprétation « crisologique » : ces films contribuent à stabiliser un imaginaire fictionnel qui se nourrit de nombreuses pathologies qui hantent le développement des espaces urbains des derniers cinquante ans. Le dernier point essayera d’élargir la portée des réflexions précédentes. On considère l’imaginaire catastrophiste au sein du Zeitraumgeist (esprit du temps et de l’espace) contemporain. En particulier, l’attention sera portée sur une possible mutation de nos rapports à l’espace et au temps. Dans ce cas, le cadre de référence sera le concept de modernité, analysé en tant qu’expérience spatio-temporelle. La conclusion portera à élaborer l’hypothèse de la « néomodernité », néologisme qui indique les changements internes des rapports au temps (passé, présent et futur) et à l’espace (l’urbain). / This research is mainly aimed at giving a contribute to the stabilization of the cinematographic instrument inside geography. It will particularly be focused on three possible ways to use movies within the geographical studies: movies as a representation of space, as imagination of places and, finally, as a conceptual example. The research will essentially be centered on the imagination of urban spaces in the catastrophic movies and particularly on the capability they might have to give urban spaces a new system of visibility. The corpus of the analysis is formed of sixty-two movies, mostly deriving from science fiction.From this perspective, the initial idea is to combine the temporal dimension, which is at the basis of science fiction (especially the ideas of the future) with the spatial dimension personified by urban spaces. The first relation between this imagination and the urban realities feeds on a “crisologic” interpretation: these movies help to stabilize a diegetic universe which is full of several pathologies that have been distressing the urban development for the last 50 years. Conversely, the last point will aim at widening the scope of the previous considerations. The imagination of catastrophes and their increasing success will be included in the contemporary Zeitraumgeist (“spirit of time and space”). I will particularly concentrate on a possible change inside our relation to space and time. In this context, the framework of reference will be the concept of modernity which is here considered, among the many meanings, as an essentially time-space experience. The conclusion will lead to develop the hypothesis of a “neo-modernity”, a neologism that is used to define the inner changes in our way to experiencing time (past, present, future) and the urban space.