Cuir (Queer) Family in Brazilian Cinema:
Some Notes on Madame Satã
DOI:
https://doi.org/10.14393/LL63-v38-2022-19Keywords:
Madame Satã, Brazilian cinema, Family, Cuir familyAbstract
This article aims to discusses a family model alien to heteronormativity in Madame Satã (2002), film by Karim Aïnouz, which tells an excerpt from the João Francisco dos Santos’s life, before he adopts his nickname Madame Satã, in the bohemian Rio de Janeiro’s Lapa neighborhood circa 1930. Alongside the prostitute Laurita, and the effeminate Tabu, João forms a cuir (queer) family that disrupts the bourgeois model based on the man-woman-child triad, and together they rise Firmina. By doing so, they undermine the Christian and bourgeois moral stability of the family concept since they are characters historically marginalized by their sexualities and gender performativities that make up a family. First, we discuss the family as a social model in accordance with legal, medical and religious discourses, based on texts by Engels (2019) and Foucault (2018), to think of it outside this standard, but in accordance with the cuir family.
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AÏNOUZ, Karim. Madame Satã. São Paulo: Columbia Pictures, 2002. DVD, 105 min.
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RAMOS, Lázaro. Entrevista ao programa Revista do cinema Brasileiro. Canal Brasil. Disponível em: https://www.youtube.com/watch?v=3yvmwrHfibU. Acesso em: 01 jun. 2021.
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Copyright (c) 2023 Paulo Valente, Lourdes Martinez-Echazábal (Autor)
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