Mulheres surdas, gênero e sexualidade: uma análise das imagens e representações presentes no cinema contemporâneo

Abstract

Gender studies and deaf studies have been gaining more and more visibility in different areas of society. In this sense, this investigation is a dissertation submitted for evaluation in the Postgraduate Program Stricto Sensu Interdisciplinary Masters in Human Sciences at UFFS – Campus Erechim, in the Subject and Languages research line. The theme of the present study is focused on the constitution of the sexual and gender identity of deaf women of different ages/generations, sociocultural and economic origins, all of this, based on the plurality of being a deaf woman. As a result, the problem that guides this research is the following: what images and representations about deaf women and their sexualities has contemporary cinema helped to construct or (re)produce? Given this, the objective that guides the research is to analyze the way in which deaf women and their sexualities have been represented in contemporary cinematographic productions in which they are characters and how these productions have contributed to reinforcing and/or deconstructing current stereotypes about them. This is an exploratory-descriptive research, with a qualitative approach, using documentary sources, bibliographic materials and four film productions, the feature films Eternals (2021) and CODA at the rhythm of the heart (2021), the short film Sorda (2021) and the documentary We Will Be Heard (2020), which will be analyzed through four axes guided by Foucault's discourse analysis (1996, 1999, 2010). The investigation shows that representations of deaf women in contemporary cinema have undergone changes over time, bringing greater representation of this group to the screens, through the inclusion of deaf characters played by deaf actresses in productions. Regarding sexuality in the experience of deafness, the filmography analysis demonstrates that the narratives have replaced discourses of infantilization and roles of deaf people as asexual with women who experience the practice of sexuality in a full and satisfactory way, experiencing affective and sexual relationships with deaf partners and Listeners, on the other hand, notice that film production is still guided by heteronormativity, since the majority of the characters presented are cisgender and maintain heterosexual relationships, showing that sexual diversities are not yet occupying the cinematic environment. It is also concluded that, similar to hearing women, deaf women face several challenges caused by machismo and patriarchy, they are affected by inequalities and gender violence in the same way as hearing women, however in the case of deafness, these situations are intersected by ableism and listening, it is also evident that they encounter many obstacles to overcoming these situations, due to the lack of opportunities to develop their autonomy, the lack of access to basic information about sexuality education and the lack of preparation of professionals who provide their care in the most varied services, such as health, social assistance and justice in cases of abuse and violence.