Com o coração exposto: dramaturgia e violências contra a mulher em Pacto Brutal

Abstract

The main objective of this research is to analyze the representation of (tele)journalism, two day laborers and the women present in the documentary series Pacto Brutal: O Assassinato de Daniella Perez, broadcast via streaming HBO Max (2022). Made 30 years after the crime, the audiovisual production tells the story of the actress and dancer through two trial cars and depoimentos of family, friends, day laborers and authorities involved in the case.We use Coutinho's Audiovisual Material Analysis Methodology - AMA (2016, 2018), anchored in Telejournalism Dramaturgy with a gender perspective (COUTINHO, PEREIRA, 2021) to understand how audiovisual production is precreveu in fabric or case that in the era turned It's a media circus. We confirm that the use of AMA does not only legitimize the audiovisual experience of the viewer without the decomposition of the material, as it allows us to interview objects scheduled in their promises. To make the use of the method more clear to readers, we find it important to demonstrate the step by step involved in obtaining two results.I study the five episodes of the series as a corpus of research, with an average duration of one hour each. A choice is due for each episode to vary in theme. Or that it is necessary to understand the work in its integral flow.From the investigation, we deduce that the Pacto Brutal series presents Jornalismo both as a persona and as a way of narrating. By means of depoimentos, reconstitutions and vast archival material, the critical audiovisual production or “media circus” of 30 years ago but uses newspaper languages and sections of telejournals from the 1990s to recount the crime that assassinated uma das promises of Brazilian teledramaturgia , Daniella Perez.We identify that the gender perspective is drawn up for audiovisual production through the debate of Daniella Perez's culpability in the Judiciary and in the matters of employment, promises of series and sources. Contudo, the social problem of violence against women and, therefore, of gender inequality has not been explored as a cultural phenomenon, given that the death of an actress is not associated with the fact of being a woman, but because she has been murdered by two profitable psychopaths.