Currículos de animação e produção de contracondutas: uma análise de desenhos animados a partir da perspectiva de gênero

Abstract

This research took shape from the understanding that cartoons are also constituted as curricula, because, despite the school being a privileged device, it is not the only place where knowledge is undertaken. Inspired by Cultural Studies (CE) and Post-Critical Theories, we understand that the teachings propagate through the most diverse cultural artifacts and undertake cultural pedagogies, due to the understanding that culture, like education, is also pedagogical and is involved in the production of knowledge and subjectivities. For Cardoso (2016), the subjectivities present in the drawings are intended for an audience and lead individuals to recognize themselves with certain ways of being, and, when covered by the discourses that constitute these subjectivities, the government of conduct is established. Conducts, in turn, are used to establish a certain identity, usually the identity that fits the current norm. However, there are other processes in which one seeks to escape these norms, fight against them and break them in search of new ways of existing. This process is what is meant by counter-conduct. With such premises, we aim here to analyze cartoons as curriculums that produce counter-conducts about gender. To support this research, we used post-critical authors from the areas of curriculum, cinema, cultural studies and gender, such as: Cardoso (2016, 2017), Ellsworth (2001), Fabris (2008), Foucault (1995, 1997, 2020), Giroux (1998, 2011), Hall (1992, 1997), Louro (2000, 2003, 2008, 2015), Meyer (2018, 2020), Paraíso (2004, 2006, 2014, 2018), Rael (2020) and Silva (2020). Methodologically speaking, this research has a qualitative nature, and is inspired by EC and post-critical methodologies, using what Fabris (2008) called “filmography for analysis” and the screen ethnography of Balestrin and Soares (2014). In addition, we conducted a survey on digital platforms to map the artifacts that have already been analyzed related to genre and cartoons. Then, we selected the cartoons The Owl House (2020) and DeadEndia (2022) for analysis, from which we concluded that both cartoons produce counter-conducts and mess up, in their own way, the barriers of norms.