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To browse Academia. This study investigates the representation of gender and sexuality in Brazilian popular comedies. Due to its responsiveness to contemporary trends, popular cinema is a privileged locus for the analysis of social and cultural change.
Comedy, in particular, is a fecund corpus for the study of power relations due to its ambivalent relation with the hegemonic power. While inherently relying on the status quo, comedy constantly pushes the boundaries of the socially acceptable; by transgressing and therefore expanding the boundaries of traditional gender representations, new models of femininity and masculinity emerge in these films in line with the changes of their time.
This argument is supported by the close analysis of ten influential films spread across the three most prominent cycles of Brazilian popular cinema history: the chanchada in the s, the pornochanchada in the s and the Globochanchada in the s. Stephanie Dennison. In: Shaw, D. Latin American Women Filmmakers. Lucia Nagib. I will first re-consider the Retomada phenomenon against the backdrop of its historical time, so as to evaluate whether the production boom of the period translated into a creative peak, and, if so, how much of this carried onto the present day.
I will then look at the female participation in this phenomenon not just in terms of numerical growth of women film directors, admittedly impressive, but only partially reflective of the drastic changes in the modes of production and address effected by the neoliberal policies introduced in the country in the mid s.