O marginal no cinema brasileiro contemporâneo: a representação do matador nos filmes O invasor e O homem do ano

Abstract

This dissertation performs analysis on two recent movies from the contemporary Brazilian cinema (The Transpasser and The Man of the Year) through the prisms of the marginality and violence and their relation with the present Brazilian society. At first, it is searched for a valid concept of marginality for this project, taking into account its evolution throughout the 20th century. In this way, authors who glimpsed this issue around the 60 s and 70 s, when the concept of the marginal was uprising in Latin America, relate to others that deal with its radicalization nowadays, being the unemployment and the precarious work sources of marginality and social exclusion. By the selection of the characters (rent killers) presented, there is proximity with sociology and anthropology studies connected to the picture of the killer gunmen (César Barreira) and punishers (José Fernando da Silva) , which helped to enrich the issue study on the movies. Each movie chosen gets a specific chapter for analysis in which their individual characteristics are pointed out and interpreted. They were chosen for bringing up as protagonists two marginal characters (Anísio and Máiquel) that get into the crime to break off with their own condition. They are killers, live in the urban fringe of big cities and stand, at a certain point, an action along with the social/economic center. Soon after there is a chapter in which the ethical and esthetical differences are upraised intending to constitute a set of differences and similarities concerning the issue. Inside the semiotic analysis (specially Eric Landowski s) and supported by the cinema theory, a path of sense is set to look at the marginal character relation to the integrated world and how this conflict is solved in the cinematographic narrative fields. The description of languages and articulations, which provide a sense, will help on the search for answers relating to the marginal-killer and violence representation. Not leaving aside that conclusions are taken upon the analyzed movies but also, in a way, reveal a social and national cinema context, as a whole.