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Master's Dissertation
Full name
Thaís Craveiro
Knowledge Area
Date of Defense
São Paulo, 2022
Mello, Cecilia Antakly de (President)
Dabat, Christine Paulette Yves Rufino
Ferreira, Carolin Overhoff
Title in Portuguese
Cinema e Ballet Revolucionário Chinês: a representação das personagens femininas em Destacamento Vermelho de Mulheres
Keywords in Portuguese
arte política
ballet clássico
período maoísta
Abstract in Portuguese
A dissertação analisa a representação das personagens femininas e a relação intermidiática entre cinema e a dança no longa-metragem Destacamento Vermelho de Mulheres (1961, Xie Jin) e no ballet filmado de mesmo título (1971, Pan Wenzhan e Fu Jie). Os filmes pertencem, respectivamente, ao chamado Período dos 17 Anos (1949-1966) e à Revolução Cultural (1966-1976), anos que compreendem o governo de Mao Zedong. Destacamento Vermelho de Mulheres tem como base o processo de libertação da ilha de Hainan entre os anos de 1930 e 1932, onde também se deu a formação de um destacamento feminino do Exército Vermelho. O longa-metragem e o ballet revelam a transformação da protagonista Wu Qionghua de escrava do senhor de terras Nan Batian à heroína revolucionária. Com a ajuda de Hong Changqing um secretário do Partido Comunista Chinês, Wu se liberta de seus opressores e se junta às fileiras do Exército Vermelho, transformando seus desejos pessoais de vingança em luta pela libertação de outras mulheres e da classe trabalhadora chinesa. Introduzida por uma revisão histórica do papel das mulheres na Revolução Chinesa, a análise de ambos os filmes leva em conta aspectos da história do cinema chinês, sua originalidade estética baseada nos diferentes tipos de artes do país e a representação de suas personagens femininas, vista como parte de um discurso feminista alinhado às diretrizes estéticas do Partido Comunista Chinês
Title in English
Chinese Revolutionary Cinema and Ballet: The representation of female characters in The Red Detachment of Women.
Keywords in English
Chinese cinema
classical ballet
Maoist period
political art
Abstract in English
The present research intends to analyze the representation of female characters and the intermedial relationship between cinema and dance in the feature film The Red Detachment of Women (1961, Xie Jin) and in the filmed ballet of the same title (1971, Pan Wenzhan and Fu Jie). The films belong, respectively, to the so-called 17 Years Period (1949-1966) and the Cultural Revolution (1966-1976), comprising the era of Mao Zedongs government. The analysis takes into account the peculiar development of Chinese cinema since its beginnings, and its aesthetic originality based on the different types of arts in the country. It then investigates whether the representation of female characters was the product of a feminist discourse, or if it served the aesthetic guidelines of the Chinese Communist Party, or both. During the Maoist period, initially under Soviet influence, Chinas film industry turned to socialist themes with the intention of internationalizing the national arts that sought to make the revolution global. Through the slogan gu wei jin yong yang wei zhong yong (), which means use the past to serve the present, the foreign to serve China, the Communist Partys cultural guidelines relied on the popular appeal of diverse Chinese and also foreign arts to build the heroic narratives of a people forged under socialism, and that were easily absorbed not only by the local population, but also by people from other countries. The films in question are examples of the aforementioned motto and combine Western aesthetic resources, such as classical ballet, with Eastern elements such as Chinese operatic theater, resulting in an original aesthetic for cinema, and highlighting female protagonists.
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