Dissertação completa - Programa de Pós-Graduação em Letras - UEM

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ABSTRACT
For centuries, the theme of "sex" was subject to certain constraints. Only in the
1960s, feminist movements have made possible a new look at the gender issue,
calling into question the way we are trained and produced as a "gendered subject".
Trevisan (1998, p. 190) asserts that there was "the collapse of walls raised to protect
certain type of masculinity defined and maintained as such, the iron and fire."
Emerged the gay movement, particularly objecting to the requirement of the sexual
relationship of men to women exclusively and necessarily, defending a new look at
the social body to homoerotic relations. Through these movements, the twenty-first
century saw a new gay identity. If before the gay subjects need to imitate women to
attract men, nowadays, we witnessed the emergence of more gay men. These new
subjects designed to conquer even more male fans. Therefore, in light of the
precepts of AD French, a Foucaultian perspective, we try to analyze the discursive
marks emanating from the film narrative Madame Satã that contributes to the
emergence and subsequent promotion of a gay man, "devoid of mannerisms and
affectations that characterized gays of old. From the principle that the cinema is a
vehicle (re) producing effects of real / reality and facilitating the functioning of (a)
normalization of the subjects and their practices, we consider Madame Satã as
landmark in the formation of gay identity in Brazil, in the social perspective or in the
view of the subject himself. Therefore, the search for determining the emergence of
the discourse of a subject politically and socially oppressed who, yearning for a place
in the social core, asserts himself as a subject in the world.
Key-words: identity; homosexuality; Madame Satã
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