Aleluia, Gretchen (1976): o figurino militar fascista como operador da atmosfera autoritária

Abstract

This dissertation examines the representations of fascist, Nazi, and Integralist military attire in the film Aleluia, Gretchen (1976), directed by Sylvio Back, understanding costume as a semiotic, performative, and atmospheric device that structures identities and produces experiences of authoritarianism within the filmic narrative. The investigation articulates three methodological axes: the film analysis approach of Aumont and Marie (2004), Lotman's (1996) Semiotics of Culture, and Gil's (2012) theory of filmic atmosphere, in conjunction with Goffman's (2009) concept of performance. The corpus comprises the scenes in which military attire is present across the film's four temporal blocks, accounting for approximately 19.72% of total screen time, an expressive proportion that reveals costume not as a secondary element, but as a constant and recurring presence throughout the work. The results indicate that the uniforms operate simultaneously as condensers of cultural memory, devices of ideological performance, and operators of filmic atmosphere, producing a cumulative experience of oppression that traverses the narrative's different temporalities. It is concluded that costume constitutes a structuring element of the film's cinematic language, rendering sensible the persistence and capacity for reactualization of authoritarian ideologies across historical time.