Trajetórias femininas musicadas pelo brega: análise dos filmes O Céu de Suely, de Karim Ainouz (2006) e Amor, Plástico e Barulho, de Renata Pinheiro (2013)

Abstract

Starting from two films, O Céu de Suely (Karim Aïnouz, 2006) and Amor, Plástico e Barulho (Renata Pinheiro, 2013) the present work sought to investigate how the brega (tacky) songs chosen for the soundtrack relate to the protagonists, what this match produces, what it reveals about these three women: Hermila, Jaque and Shelly. Thus, we propose to analyze this relationship by observing and listening to the text and sound of these songs, the way that the female bodies respond to stimuli evoked by the songs, how the camera captures and behaves in front of these moments (in which the songs are present), the relationship between music and the filmic space, the conjugations with other aesthetic elements that make up a certain brega (tacky) visuality and which symbolisms are created from the way the songs are inserted in the narrative. Among the paths taken, we draw a brief historical and aesthetic overview of brega music, its relationship with melodrama and romantic love. Besides that, we woven reflections on the body and gender studies in order to tailor these themes to the filmic and musical analysis that underline the job.