Feminismo, pós-humanismo e a questão racial em The Beguiled, de Sofia Coppola

  • William Brown Department of Media, Culture and Language, University of Roehampton, SW15 5PU, London
Palavras-chave: Sofia Coppola, Antropoceno, Pós-Humanismo, Feminismo, Cogumelos, Corrida


The Beguiled (Sofia Coppola, EUA, 2017) é um de vários filmes recentes a apresentar cogumelos como um dispositivo narrativo importante. Neste ensaio, argumento que o recurso à imagem do cogumelo permite que o cinema remeta para questões relacionadas com o Antropoceno, ou o período durante o qual o homem capitalista moldou o mundo mais do que o mundo moldou o homem capitalista. Em particular, proponho que a associação entre mulheres e fungos sugere que o Antropoceno acarreta uma visão antropocêntrica e patriarcal do mundo. Isto é, The Beguiled sugere que o Antropoceno é especificamente definido pelo homem capitalista - cujo mundo deve agora ser substituído por um que possa ser considerado feminista e pós-humano, também por causa da forma como as mulheres do filme utilizam os cogumelos para derrubar a figura masculina central, o soldado John McBurney (Colin Farrell). No entanto, The Beguiled também postula os limites de um mundo feminista e pós-humano, seja através do seu cenário de guerra ou do seu estatuto enquanto adaptação/remake do filme de Don Siegel, de 1971, com o mesmo título. Ao omitir do seu filme a personagem principal, Hallie, interpretada no original de Siegel por Mae Mercer, conhecida no romance de Thomas P. Cullinan como Mattie, Sofia Coppola levanta de forma consciente a questão racial - precisamente por torná-la invisível ou ausente. Esta omissão não é necessariamente racista na sua origem e, no entanto, o estilo elíptico e a utilização da Madewood Plantation House como local de filmagem no filme de Coppola sugerem subtilmente que o próprio cinema é uma força ao serviço do Antropoceno branco, e que a negritude, como um cogumelo e como a mulher, surgirá como o seu substituto pós-cinematográfico.

Biografia Autor

William Brown, Department of Media, Culture and Language, University of Roehampton, SW15 5PU, London

William Brown is a Senior Lecturer in Film at the University of Roehampton, London. He is the author of The Squid Cinema from Hell, or Kinoteuthis Infernalis: Chthulumedia Emerges (with David H. Fleming, Edinburgh University Press, forthcoming), Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, 2018), Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013), and Moving People, Moving Images: Cinema and Trafficking in the New Europe (with Dina Iordanova and Leshu Torchin, St Andrews Film Studies, 2010). He also the co-editor of Deleuze and Film (with David Martin-Jones, Edinburgh University Press, 2012).  He has published numerous essays in journals and edited collections, and has directed various films, including En Attendant Godard (2009), Circle/Line (2016), La Belle Noise (2019) and This is Cinema (2019).



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