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Brazilian Women's FilmmakingFrom Dictatorship to Democracy$
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Leslie L. Marsh

Print publication date: 2012

Print ISBN-13: 9780252037252

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252037252.001.0001

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Contesting the Boundaries of Belonging in the Films of Ana Carolina Teixeira Soares

Contesting the Boundaries of Belonging in the Films of Ana Carolina Teixeira Soares

(p.46) 2 Contesting the Boundaries of Belonging in the Films of Ana Carolina Teixeira Soares
Brazilian Women's Filmmaking

Leslie L. Marsh

University of Illinois Press

This chapter focuses on Ana Carolina's Mar de Rosas (Sea of Roses, 1977), Das Tripas Coração (Heart and Guts, 1982), and Sonho de Valsa (Dream Waltz, 1987). At a time when it was untenable to express her feminist views by way of a realist register, all three films develop a surrealist mode of expression. Indeed, Carolina's films adapt a surrealist mode of representation to critique repressive ideological constructions of femininity and seek the emancipation of the female psyche. Ultimately, her trilogy critiques those institutions and established beliefs through which presumably good, moral citizens are manufactured—the family, education, religion, romantic love, honoring the father, and the like—and reflects a desire for a new sociability and a new political system in which women are full, equal members. The gesture toward freedom in these films resonates with the second-wave women's movements and the larger struggle to escape a repressive authoritarian regime in the 1970s and 1980s.

Keywords:   Ana Carolina, Sea of Roses, Heart and Guts, Dream Waltz, surrealism, feminism, women's movements, authoritarian regime

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