http://repositorio.ufc.br/handle/riufc/22016 Wed, 08 Apr 2026 09:18:31 GMT 2026-04-08T09:18:31Z http://repositorio.ufc.br/handle/riufc/85683 Título: 1942: memorial e curta sobre Olga Benário Prestes Autor(es): Ferreira, Ana Clara Sousa Tipo: TCC Wed, 01 Jan 2025 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85683 2025-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85603 Título: Inferninho: um refúgio queer Autor(es): Silva, João Batista Nunes da Abstract: The violence against LBGT people appears in the news year after year, at the same time that artistic and political figures, such as Pabllo Vittar and Erika Hilton, for example, gain more national and international visibility. It’s perceived the complex position of the LGBTQIAPN+ community in contemporary Brazilian society and it is necessary to carry out studies about this relation. That way, this paper aims to analyze the Ceará film Inferninho (Guto Parente, Pedro Diógenes, 2018), from three aspects: the studies of sex and gender normativities constitution framed with social powers disparities, the use of the camp sensibility and the artifice aesthetic as a filmic device which can enable glimpses of other ways of life, and the queerness that it is in the collaborative logistics of production carried out from the encounter of the art collectives Alumbramento and Grupo Bagaceira de Teatro. Beyond the bibliographic revision of the themes from the authors Elsa Dorlin, Judith Butler, Paul Preciado, Denilson Lopes and Susan Sontag, associated to the Ricardo Duarte, Dieison Marconi Pereira, Pietra Garcia, André Macedo e Suelen Grimes researches, an interview made with the directors Guto Parente and Pedro Diógenes and with the actor Yuri Yamamoto complement the methodology of the research. This work presents how Inferninho reveals an ambiguous place where queer people seem stuck – just like in their oppressive reality – but also sheltered from such an intolerant world. Camp sensibility and artifice provoke erasures on the reality of the characters and centralise their marginalized ways of life, as well as in the films Madame Satã (Karim Ainouz, 2002) and Doce Amianto (Guto Parente, Uirá dos Reis, 2013), analysed in Ricardo Duarte’s research and reviewed for this paper about the Ceará film. Tipo: TCC Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85603 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85600 Título: A estética da angústia: uma análise do pessimismo no cinema distópico contemporâneo Autor(es): Almeida, Yarlei Irley de Lima Abstract: The construction of angst as a form of aesthetics in contemporary dystopian cinema isinvestigated, demonstrating how pessimism manifests in the audiovisual grammar beyond theplot. Starting from the premise that current dystopias have transitioned from the fear ofexplicit totalitarian regimes to more subtle and environmental forms of oppression, a dialogueis established between the cinematic image and philosophy. The theoretical frameworkarticulates Gernot Böhme's sensory concept of "atmospheres" with the dynamics of biopoliticsand control by Michel Foucault and Gilles Deleuze, further integrating Arthur Schopenhauer'smetaphysical pessimism and Eugene Thacker's cosmic horror. Through the analysis of Arrival(2016), Blade Runner 2049 (2017), and Interstellar (2014), it is observed how brutalistarchitecture, sound design, and "slow violence" materialize a malaise where the future ceasesto be a promise to become a threat. It is concluded that the genre reflects the deep anxieties ofthe 21st century, expressing the fear of human obsolescence in the face of technology and therealization of the universe's indifference. Tipo: TCC Wed, 01 Jan 2025 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85600 2025-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85567 Título: O fantástico e o fantasmagórico em Atlantique (2019) Autor(es): Citó Júnior, Márcio Primo de Araújo Abstract: This research investigates the use of fantastic elements in the Franco-Senegalese feature film Atlantique (2019), directed by Mati Diop, examining how it can be meaningful for a counter-colonial perspective in audiovisual media. Throughout the filmmaker’s career, spectrality has been present since her first directorial work, in harmony with themes that permeate her personal life. By drawing a parallel between the literary genre of magical realism or marvelous real, predominant in Latin America, and the contemporary cinematic tendency of ghostly realism in East Asia — both aesthetics connected to the animist cultures of the artists’ countries — it is observed that Atlantique also maintains a close historical and sociocultural relationship with Senegal and with Africa, besides claiming a promising future perspective for blackness. This is achieved, through an analysis of the film and its symbolic elements, through the way Mati Diop films the characters’ drama, merging the supernatural with the everyday aspects of their lives. Tipo: TCC Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85567 2026-01-01T00:00:00Z