Travessias (May 2017)
The cinematographic body as a discursive practice in the process of standardization of homoafetive relations
Abstract
This theoretical-methodological article starts from an archeogeneological perspective, are subsidized by Discourse Analysis, following its French line, and its outspread in Brazil, and its general objective is to understand the way in which the national cinematographic discourse, more precisely the film Tatuagem (2013), directed by Hilton Lacerda, through a simulacrum of the daily life of relationships, deconstructs the crystallized heteronormative normality in our Brazilian society. In this way, it questions the current ethicalmoral conduct and promotes reflections on fear of change in family relations. Given the conditions of circulating knowledge and powers, cinema functions as a discursive practice that allows understanding the contemporary sociopolitical mechanism, and in whose social practices subjects are governed by games of power. In the meantime, the national cinema, with the long Tatuagem, makes live in its practices and techniques an attempt to normalize these other relationships, establishing conductive threads of a union that goes beyond sex and problematizes issues involving love, eroticism and family.
