<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1405-9436</journal-id>
<journal-title><![CDATA[La ventana. Revista de estudios de género]]></journal-title>
<abbrev-journal-title><![CDATA[La ventana]]></abbrev-journal-title>
<issn>1405-9436</issn>
<publisher>
<publisher-name><![CDATA[Universidad de Guadalajara, Centro de Estudios de Género]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1405-94362018000200168</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[O Segredo de Brokeback Mountain e Boi Neon: paisagens, masculinidades e normatividades de gênero]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Silva]]></surname>
<given-names><![CDATA[Breno César de Almeida da]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Tilio]]></surname>
<given-names><![CDATA[Rafael De]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Federal do Triângulo Mineiro Departamento de Psicologia ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade Federal do Triângulo Mineiro  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2018</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2018</year>
</pub-date>
<volume>6</volume>
<numero>48</numero>
<fpage>168</fpage>
<lpage>205</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S1405-94362018000200168&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S1405-94362018000200168&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S1405-94362018000200168&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo: O objetivo dessa pesquisa foi compreender os discursos sobre o gênero masculino e sobre a heteronormatividade em dois filmes específicos: O Segredo de Brokeback Mountain (EUA) e Boi Neon (Brasil). Ambos foram analisados a partir dos conceitos de performatividade, citacionalidade e subversão da heteronormatividade propostos por Judith Butler. Apesar de produzidos em cenários geográficos e se passarem em momentos históricos distintos eles apresentam paisagens de gênero (conjunto de elementos ambientais, sociais, históricos e ideológicos componentes da subjetividade dos indivíduos) similares acerca da constituição e exercício da masculinidade. De maneira geral, os cowboys de O Segredo de Brokeback Mountain são homens hipermasculinizados (viris, trabalhadores e agressivos) que mesmo mantendo relações sexuais não se consideram homossexuais por estarem casados com mulheres e terem filhos; e os sertanejos de Boi Neon também exercem papéis típicos de homens heterossexuais apesar de adotarem ações e representações nem sempre considerados heteronormativos para seus gêneros. Assim, ambos são tomados como tecnologias de gênero (instrumentos de identificação para os sujeitos) produzem tensões e questionamentos em relação à heteronormatividade compulsória e à masculinidade hegemônica, constituindo importante dispositivo produtor e legitimador de subjetividades de gênero.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: The objective of this research was to understand the discourses about male gender and heteronormativity in two specific films: Brokeback Mountain (USA) and Boi Neon (Brazil). Both were analyzed from the concepts of performativity, citation and subversion of heteronormativity proposed by Judith Butler. Although produced in different geographic settings and historical moments they present similar gender landscapes (set of environmental, social, historical and ideological subjectivity elements) about the masculinity constitution. Brokeback Mountain cowboys are overmasculinized (virile, hard-working, and aggressive) who, even having sex do not consider themselves homosexual - because they are married and have children with women; likewise, Boi Neon sertanejos also plays heterosexual men typical roles despite adopting attitudes that are not considered correct for their genders. Thus, both films taken as gender technologies (tactics of identification for the subjects) produces tensions to the compulsory heteronormativity and hegemonic masculinity, constituting as an important producer and legitimating device of gender subjectivities.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: El objetivo de esta investigación fue comprender los discursos al respecto del género masculino y la heteronormatividad en dos películas específicas: Secreto en la montaña (EUA) y Boi Neon (Brasil). Las dos fueron analizadas a partir de conceptos de performatividad, citacionalidad y subversión de la heternormatividad propuestos por Judith Butler. A pesar de ser producidos en escenarios geográficos diferentes y ser presentadas en momentos históricos distintos ellas presentan paisajes de género (conjunto de elementos ambientales, sociales, históricos e ideológicos, componente de la subjetividad de los individuos) semejantes al respecto de la constitución y ejercicio de la masculinidad. De manera general, los cowboys del Secreto en la Montaña son hombres hipermasculinizados (viriles, trabajadores y agresivos) que aunque mantienen relaciones sexuales no se consideran homosexuales ya que están casados con mujeres y tienen hijos; y los campesinos presentes en Boi Neon también ejercen papeles típicos de hombres heterosexuales a pesar de tener actitudes y representaciones no siempre consideradas heteronormativas por sus géneros. Así, ambas películas tomadas como tecnologías de género (instrumentos de identificación para los sujetos) producen tensiones y cuestionamientos en relación a la heteronormatividad compulsoria y a la masculinidad hegemónica, constituyéndose un importante dispositivo productor y legitimador de subjetividades de género.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[identidade de Gênero]]></kwd>
<kwd lng="pt"><![CDATA[masculinidade]]></kwd>
<kwd lng="pt"><![CDATA[sexualidade]]></kwd>
<kwd lng="pt"><![CDATA[homossexualidade]]></kwd>
<kwd lng="pt"><![CDATA[cinema como assunto]]></kwd>
<kwd lng="en"><![CDATA[gender identity]]></kwd>
<kwd lng="en"><![CDATA[masculinity]]></kwd>
<kwd lng="en"><![CDATA[sexuality]]></kwd>
<kwd lng="en"><![CDATA[homosexuality]]></kwd>
<kwd lng="en"><![CDATA[motion picture as topic]]></kwd>
<kwd lng="es"><![CDATA[identidad de género]]></kwd>
<kwd lng="es"><![CDATA[masculinidad]]></kwd>
<kwd lng="es"><![CDATA[sexualidad]]></kwd>
<kwd lng="es"><![CDATA[homosexualidad]]></kwd>
<kwd lng="es"><![CDATA[cine como asunto]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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