A magia que seduz e nos faz sonhar...currículo-imagem e masculinidades nos cinemas latino-americanos

Abstract

This research aimed to map the lines of production of masculinities in the curriculum- image of contemporary Latin American cinemas, based on the magic cauldron of post-critical theories of curriculum. The thesis is that modes of becoming-woman masculinities have been incited and produced in contemporary times, in the midst of powerful aesthetic experiences in the education of sensitivity to gender and sexuality differences. Some questions have therefore guided me in my endeavor to compose and write this research with the charms of art: what movements can be provoked in us by an encounter with the magic of cinema? what can a curriculum- image do by highlighting other modes of masculinities? Using the method of cartography inspired by Gilles Deleuze and Félix Guattari's philosophy of difference, I turned to Latin American films such as Retablo (Peru), Pelo Malo (Venezuela), Boi Neon (Brazil) and Tatuagem (Brazil) to trace the flows of constitution of gender and sexual subjectivities in these curricula. The agericy between the films, post-critical curricular theories and this researcher has led to the development of a curriculum- image that teaches us through affections with images: 1) in Retablo, a curriculum frame skilled in the suffocating framing of differences coexists with a curriculum-love that emerges from precariousness under the sign of love: 2) in Pelo Malo, becoming- children are unleashed in the imagination of another world in a dream-curriculum; 3) in Boi Neon, there is a diffusion of new spatialities in a northeast that comes close to the neon curriculum and 4) in Tatuagem, the anarchist curriculum, the fruit of a countercultural experience, is a mohilizing force for a transformation of itself. These results, sparks of magic and cinema, point to new configurations of masculinities taught in aesthetic experiences with contemporary curriculum-image, operators of signs that make differences shine. I conclude that becoming woman, as an aesthetic- existential force that can transcend Latin American masculinities, incites destabilizations of the sites of production of desire and gender identities valued by heteronormativity thawing the masculine form in favor of a multiplicity of experiences of masculinities.