Interseccionalidade no cinema brasileiro: gênero, raça e marginalidade em Madame Satã (2002)

Abstract

The aim of this research is to analyze the film Madame Satã (2002, Karim Aïnouz) in order to understand the effects produced by the film narrative on the formation of intersectional identities of gender, race and marginality. The work tells the biography of João Francisco dos Santos (Madame Satã), a black man, homosexual and Brazilian transformer, belonging to an urban marginal culture in Rio de Janeiro in the first half of the 20th century. The character is constantly the target of gender and racial prejudice and uses his marginality as a form of resistance. We understand that this film represents the gender, racial and social prejudice present in the imagination of Brazilian society, which places black, poor and LGBTQI+ people in an inferior position, reflecting directly on the daily lives of these populations and their social relations. Using the theoretical-methodological apparatus of Visual Culture and Cinematographic Language, as well as Intersectionality, Necropolitics, Biopower and the Device of Sexuality, it will be possible to understand the representation of the main character's identity constructed by the film in question and, above all, to analyze the importance of cinema as a historical source.