“Em Meus Termos”: A manipulação em Cidadão Kane nas esferas da mídia, memória e relações de poder

Resumo (EN)

Citizen Kane (1941), film by the filmmaker Orson Welles, became a reference in film criticism for escaping conventionalism in the aesthetic and narrative fields, presenting a work that explores poignant topics to the social sciences of the twentieth century such as the media, memory and power relations. From the perspective of these three spheres, the present work investigates the manifestations of the manipulation in Citizen Kane, understanding how filmic discourse, accepted as image and text, appropriates this concept in order to discover the plausibility of its identification as the driving force of the movie. The research adopts as methodology the film analysis of Aumont and Marie (2010), in understanding that it allows the work to "speak for itself" instead of adapting to a theory, as well as enables dialogue with concepts from other areas of knowledge such as history and sociology. The dissertation, based on three chapters, focuses respectively on the role of manipulation in the media, memory and power relations, with the fundamental theoretical contributions of van Dijk (2008) and Ana Paula Goulart (2003) in the field of theory of the manipulation and the paper of the media in the present time; of Mariana Baltar (2007; 2010) and Maurice Halbwachs (2003) in the analysis of the circumstances that influence the act of memory; and Michel Foucault (2006, 2014, 2015) in the study of the dynamics of power, Max Weber (2013) in the question of American ethos, Erving Goffman (2014) in performance and Pierre Bordieu (2012) and Michelle Perrot (1991) within the scope of gender relations. The research also draws on the theoretical subsidies of Bordwell and Thompson (2004) for the analysis of Citizen Kane's filmic discourse in order to understand how it articulates the manipulation.