Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-02-14T11:57:32Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_daiany_corpos visíveis.pdf: 4076151 bytes, checksum: bea4a714bf68f66fc63c917659587290 (MD5) / Made available in DSpace on 2017-02-14T11:57:32Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_daiany_corpos visíveis.pdf: 4076151 bytes, checksum: bea4a714bf68f66fc63c917659587290 (MD5) Previous issue date: 2015-02-27 / O cinema de mulheres, mobilizado pelos estudos feministas como campo de agenciamento da visibilidade, desafia a investigação contemporânea. Esta, busca situá-lo em função dos recentes paradigmas de gênero de ruptura com os binarismos e ênfase na dimensão política da corporeidade, e das atuais perspectivas de espectatorialidade e política da arte do campo cinematográfico. Neste trabalho, buscamos rever a perspectiva de autoria feminina como um processo de subjetivação política do corpo na obra de realizadoras que utilizam os próprios corpos como matéria fílmica. Consideramos o viés ontológico do corpo vivido, presente na obra de Beauvoir (1967) e revisitado pela abordagem recente do feminismo material, vinculado ao pensamento de Braidotti (2005) e as perspectivas de análise fílmica de Sobchack (1991, 2004), Del Rio (2008) e Marks (2000, 2002). Para tanto, empreendemos uma epistemologia estéticopolítica do corpo, mensurando a relação entre mente e corpo como central para a compreensão do lugar da mulher na arte. Posteriormente, observamos as perspectivas de autoria feminina no cinema, situando-as em relação ao status que os corpos em movimento adquirem no regime estético da arte (RANCIÈRE, 2005a, 2013), no qual o cinema desponta como locus privilegiado na articulação das distâncias entre arte e cotidiano. Por fim, analisamos filmes que trazem a presença fílmica, a performance cinematográfica e a dimensão háptica dos corpos das realizadoras, transitando entre obras de caráter deliberadamente encenado e de viés autobiográfico. Observamos que o corpo vivido emerge tanto como elemento de atração e engendramento de aspectos fílmicos, como o plano e a mise en scène, quanto como evidência política dos processos vitais destas mulheres. / Women's cinema, mobilized by feminists studies as a field of visibility and agency, defies the contemporary investigation. The feminist critique tries to place it according to recent binary gender rupture paradigms and emphasis in the political dimension of embodiment, and the current perspectives of spectatorship and art politics in the cinema field. In this thesis, we consider the perspective of female authorship as a process of body politics subjectivity in the work of filmmakers who use their own bodies as film material. We reflect on the ontological bias of the lived body, present at the work of Beauvoir (1967) and revisited by the approach of the recent material feminism, linked to the ideas of Braidotti (2005) and the perspectives of film analysis by Sobchack (1991, 2004), Del Rio (2008) and Marks (2000, 2002). Therefore, we promote an aesthetical and political epistemology of the body, measuring the confrontation between body and mind as central to the understanding of the place of women in art. Later, we observe the female authorship perspectives in cinema, placing them in relation to the status that the bodies in movement acquire in art aesthetic regimen (RANCIÈRE, 2005a, 2013), in which cinema emerges as privileged locus in the articulation of distances between art and everyday life. Finally, we analyze films that show the filmic presence, the film performance and the haptic dimension of the female filmmakers bodies, moving between works of deliberate staged character and autobiographical bias. We observe that the lived body emerges as much as element of attraction and engendering filmic aspects such as the plan and the mise-en-scène, and as political evidence of the vital processes of these women.

Mémoire en recherche-création / Le présent mémoire s’intéresse aux films réalisés par les religieuses au Québec. Depuis les années 1930, celles-ci ont produit de nombreux films amateurs, qui n’ont toutefois suscité que très peu d’intérêt culturel ou académique. Un état de la recherche est d’abord effectué, s’appuyant principalement sur les travaux de l’historienne Jocelyne Denault, la première (et la seule) à avoir écrit sur ce corpus jusqu’à ce jour. Une incursion est proposée dans la production cinématographique de trois communautés localisées à Montréal. Ce faisant, nous associons les différents objets à trois catégories mieux établies : le cinéma utilitaire, le film de famille et le film de réemploi. L’étude de cas du film Le Livre d’or (Sœurs Missionnaires de l’Immaculée-Conception 1964) nous permet de s’intéresser à des films hybrides, mêlant ces trois catégories. Nous nous intéressons ensuite à la valeur documentaire des réalisations des religieuses, s’appuyant principalement sur l’exemple de Chez nous (Barrette s.g.m. 1961) et les documents corollaires à sa production. Ayant démontré la valeur historique et patrimoniale des films faits par les sœurs, nous procédons à une présentation de l’état actuel de leur archivage. Partant du constat que ces films sont plus menacés que jamais, autant par l’oubli que par la destruction, nous considérons deux procédés de mise en valeur possibles et imaginons les différentes possibilités quant à leur concrétisation : la mise en exposition et le film de réemploi. Nous concluons par un pressant appel à l’action afin de sauvegarder et de mettre au jour ces éléments précieux de la mémoire collective. / This thesis focuses on films made by religious sisters in Quebec. Since the 1930s, women religious communities have produced numerous amateur films, which have received practically no critical or academic attention. This essay begins with a survey of past and ongoing research, based mainly on the work of historian Jocelyne Denault, the first (and only) person to have written on this subject to date. An incursion is then proposed into the cinematographic productions of three communities located in Montreal. In doing so, we link the various objects under study to three more established categories: utilitarian cinema, the home movie, and the compilation or found footage film.The case study of the film Le Livre d'or (Missionary Sisters of the Immaculate Conception 1964) allows us to look at hybrid films, mixing these three categories. We then turn our attention to the documentary value of the nuns' productions, relying mainly on the example of Chez nous (Barrette s.g.m. 1961) and the documents corollary to its production. Having demonstrated the historical and patrimonial value of the films made by the sisters, we proceed to a presentation of the current status of their preservation. Starting with the observation that these films are more threatened than ever, as much by oversight as by destruction, we consider two possible processes of enhancement and envision the different ways in which they could be put into practice: exhibitions and audiovisual reuse. We conclude with an urgent call for action to safeguard and bring to light these precious elements of collective memory.