Mulheres negras guerreiras que deslizam e relampejam nos interstícios culturais e imagéticos

Abstract

In this research, historical time, the almost insurmountable sociogeographic singularities and distances of African history, post-colonialism, political and social issues as factors of interference on changing processes in literature, culture, politics, in art and their mediatic effects were also relevant to the process of constituting its corpus. The cinematographic languages make it possible, depending on the „regard‟, to go beyond traditional, and academic discussions, or not. Thus, this research aims at studying the Black Panther (2018) movie and Warrior women with Lupita Nyong'o (2019) documentary, whose initial assumption is intermediality. Some speeches of some characters were studied based on some narratives and scenes of both media, in order to describe, point out, analyze, and identify how the characters‟ identities in the film are updated from the factual warriors presented in the documentary. So, to answer the question-problem, new readings and experiences related to social phenomena were researched to observe how these characters 'flash up', in Benjamin's way and which flashes occur among them to identify the sliding between one and the other. The methodology supported that the film analysis is not separated from the aesthetic experience as a criticism. Therefore, it was necessary 'another regard' to the aesthetic experience to realize the resulting sparks from the movement among photograms, dialogues and images of both media, which pass through quickly based on theoretical sparks. So, thinking of a new stitch, created or discovered in embroidery, in weaving, a methodology of analysis was created in two moments. Firstly, it was necessary to 'regard' at the filmic unspinning of both media, that is, to decompose the scenes and observe memories, ancestry, screenplay, woof, and to update characters and scenes, when the intermedial diegesis and relationships were observed. The proposed analyses have also been supported by each texture of Ryan Coogler and Anna Cox, directors of the studied media. Secondly, bell hooks (1989) mediated a perspective of this black spectator, researcher and her ambiguities. The opposing regard proposed by hooks is what we name, in terms of method, as 'another regard'. Decompose, unspin, „regard‟ to resist specially to some scenes and perhaps produce concepts; „regard‟ to identify what these film and documentary can create, weave and spark theoretically. However, theoretical sparks only allow themselves to be fixed in their own flashes and when they are renowned. It is such perception that changes the regard, whether in the scene, or in its whole relation, or among the scenes of both filmic works to update those images. In this complex analysis, theoretical threads of bell hooks, Vera Follain de Figueiredo, Pauline Chiziane, Sojourner Truth, Toni Morrison, Achille Mbembe, Walter Benjamin and Stuart Hall were references, both in specific aspects and to update the cinematographic works. Finally, in continuum, it was relevant to take part of warriors women stories with 'another regard‟, with conceptual and methodological lenses that have built other conditions to detect necropolitical power and realize, from another point of view, the slavery and violent process that black women have lived along history.