João Francisco dos Santos is not Madam Satan: Colonialites, Racism and the dispute of Imaginaries about Black LGBTQIAP+ People
This article starts from the concern of a black subject-researcher to investigate how colonialities contribute to the reconfiguration of racism in the narrative, historical and audiovisual, of the Brazilian counterculture icon, João Francisco dos Santos, inspiration for the film Madame Satã (2002)....
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Institución: | Universidade Federal Fluminense (UFF) |
| Repositorio: | Mídia.e.Cotidiano |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/54618 |
| Acceso en línea: | https://periodicos.uff.br/midiaecotidiano/article/view/54618 |
| Access Level: | acceso abierto |
| Palabra clave: | João Francisco dos Santos Racismo Cine Negrura Madame Satan Racism Blackness Madam Satan Cinema Negritude Madame Satã |
| Sumario: | This article starts from the concern of a black subject-researcher to investigate how colonialities contribute to the reconfiguration of racism in the narrative, historical and audiovisual, of the Brazilian counterculture icon, João Francisco dos Santos, inspiration for the film Madame Satã (2002). In an attempt to claim the condition of subject, instead of objectifying this artist, it focuses on racial studies, anchoring itself, mainly, on black authors, as well as on decolonial studies. It is concluded that, although part of the artistic life of João Francisco dos Santos is portrayed, racism, as well as LGBTQIAP+phobias, are re-elaborated in the popular imagination from the maintenance of racist nicknames, even in the work of Karim Aïnouz, narrative fictional where there is room for fables. |
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