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Vestindo a imagem: o figurino como linguagem de poder em A Favorita
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Abstract(s)
A presente investigação explora a intersecção entre o figurino e a construção de narrativas de poder no cinema de época, partindo da premissa de que o vestuário é muito mais do que um elemento de reconstituição histórica. Esta dissertação propõe uma análise aprofundada do figurino como linguagem visual e operador semiótico, capaz de articular debates contemporâneos sobre representação e
identidade. Para isso, o estudo aborda as complexidades terminológicas que envolvem o vestuário em seus diversos contextos e examina suas múltiplas funções no cenário cinematográfico.
A pesquisa aprofunda a semiótica do figurino, destacando como elementos como cores, texturas e silhuetas moldam os significados e a legibilidade cultural. O estudo ainda salienta o papel do anacronismo no figurino, concebido como um elemento que reflete a construção do passado e sua conexão com o presente, em vez de uma mera incorreção histórica.
O filme A Favorita (2018) serve como estudo de caso central, onde se analisa como os figurinos das personagens materializam as dinâmicas de poder e as performances de gênero. A dissertação demonstra a utilização estratégica do vestuário para a simulação e ascensão social, e como as vestes revelam tanto a soberania quanto a fragilidade das figuras representadas.
Contrastando esta abordagem cinematográfica com a iconografia do século XVIII, a investigação sublinha como o cinema transforma a representação estática de status da pintura em um processo dinâmico de construção de poder.
This investigation explores the intersection between costume design and the construction of power narratives in period cinema, operating from the premise that clothing is much more than an element of historical reconstruction. This dissertation proposes an in-depth analysis of costume as a visual language and semiotic operator, capable of articulating contemporary debates on representation and identity. To this end, the study addresses the terminological complexities surrounding apparel in its various contexts and examines its multiple functions within the cinematographic landscape. The research delves into the semiotics of costume, highlighting how elements such as colors, textures, and silhouettes shape meanings and cultural legibility. The study further emphasizes the role of anachronism in costume, conceived as an element reflecting the construction of the past and its connection to the present, rather than a mere historical inaccuracy. The film The Favourite (2018) serves as the central case study, analyzing how the characters' costumes materialize power dynamics and gender performances. The dissertation demonstrates the strategic use of attire for social simulation and ascent, and how garments reveal both the sovereignty and fragility of the figures represented. Contrasting this cinematographic approach with 18th-century iconography, the investigation underscores how cinema transforms the static representation of status found in painting into a dynamic process of power construction.
This investigation explores the intersection between costume design and the construction of power narratives in period cinema, operating from the premise that clothing is much more than an element of historical reconstruction. This dissertation proposes an in-depth analysis of costume as a visual language and semiotic operator, capable of articulating contemporary debates on representation and identity. To this end, the study addresses the terminological complexities surrounding apparel in its various contexts and examines its multiple functions within the cinematographic landscape. The research delves into the semiotics of costume, highlighting how elements such as colors, textures, and silhouettes shape meanings and cultural legibility. The study further emphasizes the role of anachronism in costume, conceived as an element reflecting the construction of the past and its connection to the present, rather than a mere historical inaccuracy. The film The Favourite (2018) serves as the central case study, analyzing how the characters' costumes materialize power dynamics and gender performances. The dissertation demonstrates the strategic use of attire for social simulation and ascent, and how garments reveal both the sovereignty and fragility of the figures represented. Contrasting this cinematographic approach with 18th-century iconography, the investigation underscores how cinema transforms the static representation of status found in painting into a dynamic process of power construction.
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Keywords
Figurino Poder Cinema de época Semiótica Anacronismo Identidade Costume Power Period film Semiotics Anachronism Identity