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Humor Especulativo no Cinema Brasileiro Contemporâneo
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Nesta tese, proponho o modelo teórico do humor especulativo para descrever o tipo de interação entre o humor, o horror e a ficção científica presente no cinema brasileiro contemporâneo. Através de histórias de assassinatos em série, fantasmas perigosos, gangues ultrarreligiosas ou viagens no tempo, filmes brasileiros recentes transpõem narrativamente impasses e dilemas públicos com frequência relacionados à expansão do conservadorismo, às políticas identitárias, e/ou à herança colonial. Apesar dos temas delicados, esses filmes não são apenas assustadores ou estranhos, são também engraçados. Sua abordagem da polarização social e das guerras culturais é feita por entrelaçamentos e retroalimentações entre a imaginação especulativa e o humor. Por meio da análise de um conjunto significativo de textos culturais produzidos a partir da metade da década de 2010, considero como essas obras associam ansiedades coletivas (mobilizadas através do
horror e/ou da ficção científica) às potencialidades disruptivas do humor. Para isso, abordo os procedimentos, implicações e especificidades dessa convergência, e discuto até que ponto ela pode ser vinculada à recente radicalização da esfera pública brasileira, em que o humor e as narrativas especulativas também coexistem.
In this thesis, I propose the theoretical model of speculative humor to describe the type of interaction between humor, horror and science fiction present in contemporary Brazilian cinema. Through stories of serial killings, dangerous ghosts, ultra-religious gangs or time travels, recent Brazilian films narratively transpose public impasses and dilemmas often related to the expansion of conservatism, identity politics, and/or colonial heritage. Despite such sensitive topics, these films are not only scary or strange, but also funny. They address Brazil’s social polarization and culture wars by interweaving speculative fiction with humor. Through the analysis of a significant set of cultural texts produced from the mid-2010s onwards, I consider how these works associate collective anxieties (mobilized through horror and/or science fiction) with the disruptive potentialities of humor. To this end, I look at the procedures, implications and specificities of this convergence, and discuss the extent to which it can be linked to the recent radicalization of the Brazilian public sphere, in which humor and speculative narratives also coexist
In this thesis, I propose the theoretical model of speculative humor to describe the type of interaction between humor, horror and science fiction present in contemporary Brazilian cinema. Through stories of serial killings, dangerous ghosts, ultra-religious gangs or time travels, recent Brazilian films narratively transpose public impasses and dilemmas often related to the expansion of conservatism, identity politics, and/or colonial heritage. Despite such sensitive topics, these films are not only scary or strange, but also funny. They address Brazil’s social polarization and culture wars by interweaving speculative fiction with humor. Through the analysis of a significant set of cultural texts produced from the mid-2010s onwards, I consider how these works associate collective anxieties (mobilized through horror and/or science fiction) with the disruptive potentialities of humor. To this end, I look at the procedures, implications and specificities of this convergence, and discuss the extent to which it can be linked to the recent radicalization of the Brazilian public sphere, in which humor and speculative narratives also coexist
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Humor Ficção Especulativa Cinema Brasileiro Contemporâneo Speculative Fiction Contemporary Brazilian Cinema