O enunciado fílmico O Diabo Veste Prada: uma análise bakhtiniana do signo ideológico "diabo"

Abstract

This research aims to analyze the filmic utterance The Devil Wears Prada, under the light of the Bakhtinian and the Circle's theory, with the purpose of understanding the meanings produced by the ideological sign "devil", within the social-historical-cultural context of the film. We also aim to identify the historical, social, cultural processes and the discourses that constitute the filmic utterance The Devil Wears Prada, interpreting the dialogic relations which corroborate the architectonics of the Bakhtinian subject in the relationship between the characters Andrea Sachs (Anne Hathaway) and Miranda Priestly (Meryl Streep), by illustrating the dynamics of the concrete utterance from a Bakhtinian perspective. To do so, we use the sociological method for analyzing utterances to identify the meanings of "devil" produced in the film, as a response to the other ideological meanings produced by this sign throughout history. As such, this study works with a dialogical approach and it has analytical, descriptive, and interpretive aspects. It is analytical because it makes use of the Bakhtinian perspective to guide the discourse analysis of the filmic utterance and the study of the ideological sign "devil"; it is descriptive because we carried out the description of the social reality reflected and refracted by the ideological sign "devil" through the character Miranda Priestly, in The Devil Wears Prada; it is interpretive because it relies on the researcher's readings and his positioning before the dialogues established with the object of analysis. In this sense, we addressed the notions of ideological sign, utterance, theme, signification, dialogue, responsibility, subject and meaning (BAKHΤΙΝ, 2019; ΒΑΚΗΤΙΝ, 2016; ΒΑΚΗΤΙΝ, 2011; ΒΑΚΗΤΙΝ, 2013; ΒΑΚΗΤΙΝ, 2010; ΒΑΚΗΤΙΝ, 2008; MEDVIÉDEV, 2012; VOLÓCHINOV, 2019; VOLÓCHINOV, 2018). We also made use of the contribution of other authors, philosophers, and researchers who helped us build the theoretical framework of this research. Regarding the methodology applied, we chose to work with the collection of scenes, which we have called "captures or screenshots". Ninety-eight scenes were captured in total, of which forty-nine were selected to be part of this work. By describing, interpreting and analyzing the scenes collected, we verified that the characters Andrea Sachs and Miranda Priestly engage themselves in a dialogic relationship that brings out the complex of meanings arranged in the form of the ideological sign "devil". In this case, the meaning of "devil" featured in the corpus brings reminiscences of the Middle Ages, the Renaissance, the Enlightenment and Romantic Aesthetics; however, it is through the capitalist discourse of fashion, maintained and operationalized through vanity, that it manifests itself in The Devil Wears Prada.