| dc.description.abstract | The present work seeks to observe gender performativities from the analysis of the short film Pink or Blue (2017), resulting from the partnership between director Jake Dypka and poet Hollie McNish and presented at the Lions Cannes advertising festival. From this, our central question is how the communicational constructs of femininity and masculinity are updated in the technical and metaphorical images of Pink or Blue (2017). Our path presents two theoretical chapters, the first being focused on gender debates, such as performativity (BUTLER, 1988, 2003, 2019) and patriarchy (BOURDIEU, 2019). The second makes incursions from the expressive plan of the short, its technical, aesthetic and narrative elements, in addition to working with concepts such as dialectical image and critical image (DIDI-HUBERMAN, 2010), as well as the political bias carried by the images (BENJAMIN, 1985). Our methodology used a combination of dissection (KILPP, 2003, 2010) and cartographic procedures (MOLDER, 2010). During the dissection of the images, we ended up creating other images, which allowed us to evoke discussions about bodies that escape gender binarisms. The second methodological step, referring to cartography, allowed us to create three constellations that discuss themes relevant to gender studies, each one focusing on a different aspect such as: sexuality, body and intersectionality. From this, we weave discussions about racism, ageism, masturbation, hypersexualization, among others. The main point that we extract from Pink or Blue is that the gender performativities presented there, despite having an intention to educate the spectator through the manifestation of different forms of expression of gender and sexuality, end up resorting to image clichés. On the other hand, we recognize the need to reinforce messages that seem to be within the scope of the obvious, in view of the growing intolerance movements, such as LGBTphobia, racism and femicide. | |
