{"id":72784,"date":"2023-11-01T07:25:00","date_gmt":"2023-11-01T10:25:00","guid":{"rendered":"https:\/\/www.ufrgs.br\/jornal\/?p=72784"},"modified":"2023-12-06T10:57:26","modified_gmt":"2023-12-06T13:57:26","slug":"masters-thesis-investigates-social-and-symbolical-representations-of-housekeepers-in-the-brazilian-movie-industry","status":"publish","type":"post","link":"https:\/\/www.ufrgs.br\/jornal\/masters-thesis-investigates-social-and-symbolical-representations-of-housekeepers-in-the-brazilian-movie-industry\/","title":{"rendered":"Master\u2019s thesis investigates social and symbolical representations of housekeepers in the Brazilian movie industry"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><strong>Communication | Research reflects about the imaginary built through aspects of obedience, solitude and affection in relation to domestic work&nbsp;<\/strong><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:10px\"><em>*By Geovana Benites<br>*First published March 16th, 2023<br>*Image: Zoraide Coleto plays Ladjane in the movie Aquarius (2016), directed by Kleber Mendon\u00e7a Filho. She is a housekeeper who works in the house of the protagonist Clara, played by S\u00f4nia Braga (Reproduction)<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Characters like Aunt Nast\u00e1cia, from <em>S\u00edtio do Pica-pau Amarelo<\/em>,<em> <\/em>and<em> <\/em>Val, from <em>Que horas ela volta?<\/em>, are representative of the role housekeepers play in Brazilian households, both in fiction and in real life. According to <a href=\"https:\/\/www.dieese.org.br\/infografico\/2022\/trabalhoDomestico.html\">The Brazilian Institute of Geography and Statistics (IBGE)<\/a>, 5.7 million people work within the field of domestic work in Brazil. Based on this scenario, the researcher Kelly Demo Christ has been investigating, for her Master\u2019s thesis in Communication, the social and symbolic contexts in which housekeepers are inserted in the Brazilian cinema.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The <a href=\"https:\/\/lume.ufrgs.br\/handle\/10183\/249767\">study<\/a>, supervised by Professor Miriam de Souza Rossini, discussed plot aspects such as \u201cstarting point\u201d, \u201cobedience\u201d, \u201cdisobedience\u201d, \u201csolitude\u201d and \u201caffection\u201d in order to understand the role played by housekeepers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The selected movies were produced after the 2000\u2019s and had maids as secondary characters. Some of them were: <em>Cronicamente invi\u00e1vel<\/em> (2000), directed by S\u00e9rgio Bianchi; <em>A partilha<\/em> (2011), directed by Daniel Filho; <em>Trabalhar cansa<\/em> (2011), directed by Juliana Rojas and Marco Dutra; <em>O som ao redor <\/em>(2012) and <em>Aquarius<\/em> (2016), written and directed by Kleber Mendon\u00e7a Filho; <em>Casa grande<\/em> (2015), directed by Fellipe Gamarano Barbosa; and <em>Domingo<\/em> (2018), directed by Clara Linhart and Fellipe Gamarano Barbosa. In order to make the analysis, Christ organized a cinematic corpus only with scenes in which the target-characters appear (the selected movie excerpts are available on her blog called <a href=\"https:\/\/www.cinemadeporao.com.br\/domesticasnocinema\"><em>Cinema de Por\u00e3o<\/em><\/a>).<\/p>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Life imitates art and vice versa<\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">When Christ was still taking her undergraduate program at the Federal University of Pelotas (UFPel), the theme \u201chousekeepers on television\u201d was already an interesting topic for her. The creation of the <a href=\"about:blank\">Proposed Amendment to the Constitution for domestic workers<\/a> (<em>PEC das Dom\u00e9sticas<\/em>, in Portuguese) and the heated debates about this subject and other social problems made her think about the (in)visibility of these workers. \u201cSometimes they seem to be objectified as one more piece of the set, placed at the background, or often revealed as hands and arms, but rarely given faces,\u201d says the researcher. \u201cIn the years of 2014 and 2015, movies started portraying them as protagonists, as it is the case of <em>Que horas ela volta?<\/em>, which impacted me a lot\u201d.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Given the fact that only a few movies actually pictures housemaids as protagonists, Christ decided to widen her scope including feature films in which they are secondary characters. \u201cIf I were going to talk about domestic workers who are protagonists, I would mention one or two movies; secondary characters, on the other hand, would considerably increase sample choices, says Christ. Also, people usually don\u2019t talk about the secondary ones as if they weren\u2019t worth talking about, but I didn\u2019t see it that way.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Christ, secondary characters have much more to add to the symbolic representation of housekeepers in the movie industry than protagonists do. When they are protagonists, it is possible to understand all the character\u2019s life context. This is not possible when they are secondary characters.&nbsp;<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\"><em>\u201cWhen we are talking about setting, we also refer to architecture, physical spaces and the way our houses are built. A lot of times, there is a bedroom for the housekeeper located at the back of the house, as much apart from the rest of the house as if it were a type of \u201csenzala\u201d heritage. That is why I tackle both the social and the symbolic places precisely because of such ambiguity.\u201d&nbsp;<\/em><\/p>\n<cite>Kelly Demo Christ<\/cite><\/blockquote>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>The places<\/strong><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\">Christ gathered scenes in which the characters appear and made a montage with them to analyze the housekeepers\u2019 places and roles. The first category received the name of \u201cstarting point\u201d because it had scenes from their first appearances in the movies. From then on, she noticed that there were a lot of scenes showing boss-employee interactions. \u201cThe way the bosses talked to their employees bothered me. It was either harsh or as silly as if they were asking a friend for a favor, and not an employee they have a professional relationship with,\u201d she noticed. Then, Christ included such scenes in the category called \u201cobedience\u201d because of the recurrent times in which \u2018power\u2019 was noticeable in the narratives.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On the other hand, there was also \u201cdisobedience\u201d as an aspect of the plot. The reason for this aspect was the times when the housekeepers used to \u201cbreak\u201d the protocols of interaction or behaved in ways far from the expected. Christ says that these are symbolic representations born from enslaving practices \u2013 common back in the Brazilian Colonial period \u2013 whose remnants are still found in contemporary film making. \u201cIt is very common for the Brazilian cinematography to have scenes where housekeepers do something \u201cwrong\u201d and hide it from their bosses,\u201d says Christ. \u201cOne of the bosses gets out of the house, and the female housekeeper sleeps on the boss\u2019 bed, wears her clothes, takes liberties with the boss\u2019 husband, or leaves her chores unattended to go out and seek for fun, which is exactly what happens in the movie <em>O som ao redor<\/em>, for example.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another element that called Christ\u2019s attention was the many scenes in which the housekeepers were seen alone. Even though the scene was being recorded with the protagonists \u2013 the families\u2013, they only appeared quickly in the kitchen getting some food or working. Those scenes were classified as \u201csolitude\u201d. \u201cLots of these domestic workers leave their children at home completely on their own while they take care of other families\u2019 children,\u201d Christ explains.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On the other hand, there is also a category called \u201caffection\u201d, which contrasts with the \u201csolitude\u201d scenes and shows affective interactions between housekeepers and the families they work for which surpass the narrow limits of professionalism. \u201cMy intention in discussing closer daily interactions was finding out if there was affection between bosses or their children and maids,\u201d says Christ. It is common in cinematography and reality for the employees to keep a personal attachment to their bosses because of their daily interaction.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Brazilian cinematography helps build symbolic representations about the character-types it offers to audiences. Either in the skin of protagonists or in the skin of secondary characters, housekeepers also play an important role in this aspect. Christ reflects about the increase of movies showing housekeepers as protagonists and beyond their professional life. This is the case for one of the protagonists of <em>Marte Um <\/em>(2022), directed by Gabriel Martins. She is a housekeeper, but whose story tells the audience much more than that.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another matter observed from the montage analysis is that the housekeeper characters are built in diverse ways, even though most of them has some aspects in common, such as social class, gender and race. This finding converges with the reality of housework in Brazil, as women represent more than 92% of housekeepers, and more than 65% of them are Black women, according to the <a href=\"https:\/\/www.dieese.org.br\/infografico\/2022\/trabalhoDomestico.html\">Brazilian National Household Sample Survey (PNAD\/IBGE)<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cI believe my research helps people look at these characters as more than just setting objects or people with no names. Many times, they are in the movies just as a symbol of the family\u2019s status. This is crazy because they should have a name, a story, a path, just like all other characters,\u201d concludes the researcher.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n\n\n\n<p class=\"has-accent-background-color has-background wp-block-paragraph\">Translated into English by <strong><em>Vit\u00f3ria Ribeiro Leal<\/em><\/strong>, undergraduate student enrolled in the course &#8220;Supervised Translation Training I (English)&#8221; of the Undergraduate Program in Language and Literature, under the supervision and translation revision of Professor Elizamari R. Becker (P.h.D.) &#8211; IL\/UFRGS.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n\n\n\n<p class=\"wp-block-paragraph\">::\u00a0<strong>Read in Portuguese:<\/strong><br><a href=\"https:\/\/www.ufrgs.br\/ciencia\/dissertacao-investiga-os-lugares-sociais-e-simbolicos-da-empregada-domestica-no-cinema-brasileiro\/\">Disserta\u00e7\u00e3o investiga os lugares sociais e simb\u00f3licos da empregada dom\u00e9stica no cinema brasileiro<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Communication | Research reflects about the imaginary built through aspects of obedience, solitude and affection in relation to domestic work <span class=\"more-link\"><a href=\"https:\/\/www.ufrgs.br\/jornal\/masters-thesis-investigates-social-and-symbolical-representations-of-housekeepers-in-the-brazilian-movie-industry\/\">Leia mais<\/a><\/span><\/p>\n","protected":false},"author":195,"featured_media":61777,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_themeisle_gutenberg_block_has_review":false,"page_builder":"","footnotes":"","_ppma_block_editor_authors":""},"categories":[4495],"tags":[],"ppma_author":[3318],"class_list":["entry","author-geovanabenites","has-excerpt","post-72784","post","type-post","status-publish","format-standard","has-post-thumbnail","category-in-english"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Master\u2019s thesis investigates social and symbolical representations of housekeepers in the Brazilian movie industry - Jornal da Universidade<\/title>\n<meta name=\"description\" content=\"Communication | Research reflects about the 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