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Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-10-20T15:06:41Z No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-23T10:03:07Z (GMT) No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-23T10:03:07Z (GMT). No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research study aims to outline the trajectory of indigenous film-maker Patrícia Ferreira Pará Yxapy. Patrícia belongs to the Mbyá-Guarani ethnic group and is currently regarded as the most relevant female figure in Brazilian indigenous filmmaking. I attempt to understand her trajectory from the standpoint of the relations she establishes with images to contribute with research on indigenous women and filmmakers and, hence, to understand the paths available for a female indigenous filmmaker in Brazil. I employ audiovisual methods to verify the passage from the representation of an ‘indian image’ – in view of representations brought forth by stereotypical non-indigenous policies – towards the ‘indigenous gaze’. In other words, by focusing on a self-represented and political image as well as on filmmaking from the standpoint of a shared gaze, repertoires, and her own experiences, Patrícia becomes the leading figure of her claims. Therefore, her work opposes the apparent passiveness which is often assigned to the imagery production relation active/man and passive/woman. She distances herself from a romanticized and exotic view (‘of the other’) through appropriations of her discourses, hence performing her own artistic agency in the production of a female indigenous cinematography. There is a tension between borders and their discursive possibilities which have originated from the appropriation of audiovisual technologies that make up hegemonic stances. It is based on this rupture that I carry out an ethnographic experience of video letters, i.e. exchanged videographic messages about a wide range of topics. In this project, they exist between the two of us to show our relationship through images and sounds. In Patrícia’s own words: ‘what I put out used to be inside me’. / Esta pesquisa procura traçar a trajetória da cineasta indígena Patrícia Ferreira Pará Yxapy. Patrícia é Mbyá-Guarani e é atualmente tida como a mulher mais relevante para o cinema indígena brasileiro. Procuro entender sua trajetória a partir das relações que ela estabelece com as imagens a fim de contribuir com os estudos sobre mulheres e cineastas indígenas e, a partir daí, compreender os caminhos de uma mulher indígena cineasta no Brasil. Utilizo métodos audiovisuais para verificar a passagem da representação da “imagem do índio” – diante das representações realizadas por políticas não indígenas estereotipadas – para “o olhar indígena”. Ou seja, com a imagem autorrepresentada e política e o dispositivo cinematográfico a partir do olhar compartilhado, de repertórios e suas experiências, Patrícia torna-se protagonista de suas reivindicações. Portanto, sua obra contrapõe-se ao pressuposto lugar de passividade que é atribuído, frequentemente, à relação de produção imagética ativa/homem e passiva/mulher. Ela afasta-se da visão romantizada e exótica (“do outro”) por meio das apropriações de seus discursos, empreendendo sua própria agência artística na produção de uma cinematografia indígena feminina. Desse modo, deparamo-nos com uma tensão entre fronteiras e suas possibilidades discursivas abertas pela apropriação de tecnologias audiovisuais constitutivas das posições hegemônicas. É a partir dessa fissura que fazemos uma experiência etnográfica de vídeo-cartas, que constituem trocas de mensagens videográficas dos mais diversos temas. Neste projeto, elas existem entre nós duas a fim de mostrar com imagens e sons nossa relação. Como afirma Patrícia: “o que pus para fora estava dentro de mim”.

Cette thèse porte sur les représentations des peuples autochtones du Nord forgées par les films et téléfilms soviétiques de fiction. Mobilisant plusieurs approches — l’analyse filmique, l’histoire culturelle du cinéma, l’histoire des représentations et l’histoire politique soviétique —, elle confronte les films à des sources non-films (presse, archives papier, entretiens), afin de mettre en lumière la construction d’une subjectivité et d’un regard. Il s’agit également de décortiquer la fabrication des représentations, dans ses dimensions à la fois les plus concrètes et les plus symboliques. En ce sens, la question de la participation ou de la non-participation des autochtones à la création de leur image filmique, que ce soit devant ou derrière la caméra, constitue une autre interrogation centrale. Les représentations filmiques des peuples du Nord, tiraillées en permanence entre visions du « progrès » et de l’« authenticité », opèrent à l’écran comme autant d’images qui permettent à l’Union soviétique d’évaluer sa propre perception de la modernité. Des années 1920 aux années 1980, les figures cinématographiques autochtones circulent entre deux pôles d’un continuum, qui va de l’incarnation d’une arriération à éliminer au nom de la soviétisation à celle d’une harmonie avec la nature, désormais perdue ou menacée. Par ailleurs, en prenant en compte la question de la contribution des autochtones à la création de leur propre image, cette thèse s’attache à montrer que le film constitue un espace complexe, où plusieurs lectures et usages sont possibles selon la position des participants. / This thesis focuses on the representations of indigenous peoples of the North in Soviet fiction films and made for TV movies. Mobilizing several approaches — film analysis, the cultural history of cinema, the history of representations and Soviet political history — it confronts films with non-film sources (press, paper archives, interviews) in order to highlight the construction of a subjective point of view. It also studies the production of these representations, in both its most concrete and symbolic dimensions. The issue of the participation or non-participation of indigenous peoples in the creation of their image on film, whether in front of or behind the camera, is another central question. The filmic representations of the peoples of the North, constantly torn between visions of “progress” and “authenticity,” operate on the screen as images that allowed the Soviet Union to evaluate its own perception of modernity. From the 1920s to the 1980s, images of indigenous people shifted along a spectrum ranging from the incarnation of backwardness to be eliminated in the name of Sovietization to the embodiment of harmony with nature, now lost or threatened. Moreover, taking into account the question of the contribution of the indigenous people to the creation of their own image, this thesis demonstrates that cinema became a complex space, where different readings and uses were possible according to the position of the participants.