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Representações cinematográficas da precariedade dos artistas
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Orientador(es)
Resumo(s)
O presente estudo consiste numa análise documental de tipo qualitativo, que se
enquadra numa abordagem à investigação que explora as experiências e representações
dos indivíduos a partir dos seus produtos estéticos ou artísticos como testemunhos
(e.g., Becker, 2007; Silva et al., 2018).
O estudo teve como objetivo explorar as representações de realizadores de cinema,
patentes nos seus filmes, relativamente à problemática da precariedade profissional e
ontológica experienciada pelos artistas de diversas áreas. Em particular, o intuito foi de
analisar o grau em que aquelas representações corroboram as formas de precariedade
identificadas pela investigação anterior, assim como de identificar eventuais
representações de formas de precariedade distintas das que estão registadas na literatura.
Os dados utilizados para análise integram uma amostra por conveniência de 21
filmes comerciais de longa-metragem e de ficção nos quais se identificou a temática da
precariedade dos artistas.
Os filmes foram sujeitos a uma análise temática de conteúdo intermédia, em que
utilizou um sistema de categorias descritivas da precariedade dos artistas, baseado em
investigação anterior. A análise permitiu a identificação de uma variedade de
representações cinematográficas sobre a precariedade profissional e ontológica dos
artistas. A maior parte das representações observadas é coincidente com formas de
precariedade identificadas pela investigação anterior, contribuindo para a sua validação.
Para além disso, uma minoria de formas de precariedade identificadas na literatura
consultada não tem equivalente nas representações observadas e algumas destas parecem
refletir a perceção de formas de precariedade não identificadas naquela literatura,
sugerindo uma hipotética inovação.
The present study consists of a qualitative documental analysis, framed by an investigation approach that explores the experiences and representations of individuals through their aesthetical or artistic products as testimonies (e.g., Becker, 2007; Silva et al., 2018). This study’s aim was to explore the representations of film directors, as witnessed in their films, regarding the professional and ontological precarity experienced by artists of different areas. Particularly, the intent was to analyze the degree in which those representations corroborate the forms of precarity identified by previous research, as well as to identify eventual representations that are different from the ones reported in the literature. The data utilized for analysis composes a sample by convenience of 21 commercial fiction films in which the thematic of artists’ precarity was identified. The films were subjected to a thematic intermediate content analysis, that used a descriptive category system of artists’ precarity, based on previous research. The analysis allowed the identification of a series of cinematographic representations of professional and ontological artists’ precarity. Most of the observed representations coincides with forms of precarity identified by previous research, therefore contributing for its validation. Furthermore, a minority of precarity forms identified in the consulted literature have no equivalent in the observed representations and some of these seem to reflect the perception of forms of precarity not yet identified on that literature, suggesting a hypothetical innovation.
The present study consists of a qualitative documental analysis, framed by an investigation approach that explores the experiences and representations of individuals through their aesthetical or artistic products as testimonies (e.g., Becker, 2007; Silva et al., 2018). This study’s aim was to explore the representations of film directors, as witnessed in their films, regarding the professional and ontological precarity experienced by artists of different areas. Particularly, the intent was to analyze the degree in which those representations corroborate the forms of precarity identified by previous research, as well as to identify eventual representations that are different from the ones reported in the literature. The data utilized for analysis composes a sample by convenience of 21 commercial fiction films in which the thematic of artists’ precarity was identified. The films were subjected to a thematic intermediate content analysis, that used a descriptive category system of artists’ precarity, based on previous research. The analysis allowed the identification of a series of cinematographic representations of professional and ontological artists’ precarity. Most of the observed representations coincides with forms of precarity identified by previous research, therefore contributing for its validation. Furthermore, a minority of precarity forms identified in the consulted literature have no equivalent in the observed representations and some of these seem to reflect the perception of forms of precarity not yet identified on that literature, suggesting a hypothetical innovation.
Descrição
Dissertação de mestrado, Psicologia (Área de Especialização em Psicologia da Educação e Orientação), Universidade de Lisboa, Faculdade de Psicologia, 2021
Palavras-chave
Artistas Cinema Precariedade profissional Representações Dissertações de mestrado - 2021