Pub Date : 2022-01-01DOI: 10.36019/9780813596303-006
{"title":"5 EVERYWHERE AND NOWHERE","authors":"","doi":"10.36019/9780813596303-006","DOIUrl":"https://doi.org/10.36019/9780813596303-006","url":null,"abstract":"","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73280266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.36019/9780813596303-004
{"title":"3 CHEATING PHYSICS","authors":"","doi":"10.36019/9780813596303-004","DOIUrl":"https://doi.org/10.36019/9780813596303-004","url":null,"abstract":"","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"39 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73857316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.36019/9780813596303-fm
{"title":"Frontmatter","authors":"","doi":"10.36019/9780813596303-fm","DOIUrl":"https://doi.org/10.36019/9780813596303-fm","url":null,"abstract":"","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80833843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.36019/9780813596303-005
{"title":"4 BEYOND CINEMA","authors":"","doi":"10.36019/9780813596303-005","DOIUrl":"https://doi.org/10.36019/9780813596303-005","url":null,"abstract":"","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"97 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89046159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.36019/9780813596303-009
{"title":"WORKS CITED","authors":"","doi":"10.36019/9780813596303-009","DOIUrl":"https://doi.org/10.36019/9780813596303-009","url":null,"abstract":"","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78601536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between 2007 and 2015, the production of documentaries in Argentina reached the greatest number and diversity in its history due to the creation of a call for low budget works in digital formats. To a large extent, these measures were the result of pressures coming from groups of documentary filmmakers that emerged in the heat of the December 2001 crisis, calling for the democratization of access to resources.
{"title":"Do vídeo-ativismo à Vía Digital: uma nova década do documentário argentino","authors":"M. Wainmayer","doi":"10.20287/DOC.D25.DT04","DOIUrl":"https://doi.org/10.20287/DOC.D25.DT04","url":null,"abstract":"Between 2007 and 2015, the production of documentaries in Argentina reached the greatest number and diversity in its history due to the creation of a call for low budget works in digital formats. To a large extent, these measures were the result of pressures coming from groups of documentary filmmakers that emerged in the heat of the December 2001 crisis, calling for the democratization of access to resources.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85152386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present article results from an attempt to approach and reflect on some concepts of the thought of Levinas, Butler and Barthes for a political view of images, especially those that expose faces and bodies victimized by violence. To do so, we focus on an ethical perspective of portraiture, considering the political power that revisits the suffering of the victims of the Brazilian civil-military dictatorship may spur us on. The documentary film Retratos de identificacao provides us with two mugshots of the faces of Chael Charles Schreier and Maria Auxiliadora Lara Barcelos, the Dora, two young victims of that exceptional regime. In electing these two photographic records, we exposed them to the reflection developed by the said philosophers, so that we could understand the political and ethical dimensions of the images of these two violated but inescapable faces.
本文试图探讨和反思列维纳斯、巴特勒和巴特的政治形象观思想中的一些概念，特别是那些暴露遭受暴力侵害的面孔和身体的概念。为了做到这一点，我们将重点放在肖像的道德视角上，考虑到重新审视巴西文武独裁的受害者所遭受的痛苦的政治力量可能会激励我们。纪录片《身份还原》(Retratos de identificacao)为我们提供了两张面部照片，照片上是那个特殊政权的两名年轻受害者，分别是Chael Charles Schreier和Maria Auxiliadora Lara Barcelos。在选择这两张摄影记录时，我们将它们暴露在上述哲学家的反思中，以便我们能够理解这两张被侵犯但不可避免的面孔的图像的政治和伦理维度。
{"title":"Da lágrima à resistência: o clamor ético das vítimas e a potência política do rosto exposto como imagem","authors":"Frederico Vieira, R. L. Filho","doi":"10.20287/doc.d25.dt03","DOIUrl":"https://doi.org/10.20287/doc.d25.dt03","url":null,"abstract":"The present article results from an attempt to approach and reflect on some concepts of the thought of Levinas, Butler and Barthes for a political view of images, especially those that expose faces and bodies victimized by violence. To do so, we focus on an ethical perspective of portraiture, considering the political power that revisits the suffering of the victims of the Brazilian civil-military dictatorship may spur us on. The documentary film Retratos de identificacao provides us with two mugshots of the faces of Chael Charles Schreier and Maria Auxiliadora Lara Barcelos, the Dora, two young victims of that exceptional regime. In electing these two photographic records, we exposed them to the reflection developed by the said philosophers, so that we could understand the political and ethical dimensions of the images of these two violated but inescapable faces.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"68 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85865176","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The text analyzes the documentary writing of Vincent Carelli in the context of the indigenous media. The objective is to investigate how the film A festa da moca (1987), with its devices of (trans)figuration and (re)invention of the historical world, resonate in the work of Vincent Carelli and the indigenous filmmakers linked to the Video in the Villages (VNA), problematizing the perception of self, the re-enactment of tradition, the system of imagery reuse, (self) referentiality, narrative deviations, the place of the Other and the indigenous question in Brazil.
本文分析了文森特·卡雷利在本土媒体背景下的纪录片写作。目的是研究电影A festa da moca(1987)如何以其(转换)形象和(重新)发明历史世界的手法，在Vincent Carelli和与村庄视频(VNA)相关的土著电影制作人的作品中产生共鸣，对自我的感知提出问题，重新制定传统，图像再利用系统，(自我)参考，叙事偏差，他者的位置和巴西的土著问题。
{"title":"Variações sobre o documentário de Vincent Carelli - (Des)fazendo o novelo","authors":"M. Felipe","doi":"10.20287/DOC.D25.DT01","DOIUrl":"https://doi.org/10.20287/DOC.D25.DT01","url":null,"abstract":"The text analyzes the documentary writing of Vincent Carelli in the context of the indigenous media. The objective is to investigate how the film A festa da moca (1987), with its devices of (trans)figuration and (re)invention of the historical world, resonate in the work of Vincent Carelli and the indigenous filmmakers linked to the Video in the Villages (VNA), problematizing the perception of self, the re-enactment of tradition, the system of imagery reuse, (self) referentiality, narrative deviations, the place of the Other and the indigenous question in Brazil.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90257819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A expressao Fata Morgana trata-se de uma miragem resultante do deslocamento de ar em virtude da diferenca de temperatura em paisagens.
Fata Morgana的表达是由于景观温度的差异而产生的空气位移的海市蜃楼。
{"title":"Paisagem sem significados profundos: uma análise dos comentários em Fata Morgana (1971)","authors":"Francisco Gabriel Rêgo, Geovana Freitas Paim","doi":"10.20287/DOC.D25.AC01","DOIUrl":"https://doi.org/10.20287/DOC.D25.AC01","url":null,"abstract":"A expressao Fata Morgana trata-se de uma miragem resultante do deslocamento de ar em virtude da diferenca de temperatura em paisagens.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77439523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dans le chapitre conclusif de cet ouvrage collectif dedie au film L’heure des brasiers (La hora de los Hornos, Fernando Solanas et Octavio Getino, 1968), Michael Chanan demande de facon presque provocante : « Pourquoi celebrer le cinquantieme anniversaire d’un documentaire militant qui defend une ideologie depassee de la violence revolutionnaire ? » (Campo & Perez-Blanco, 2019 : 247). Des reponses, multiples et diffractees, sont en effet proposees comme autant de lectures possibles d’un film emblematique du « Troisieme cinema », un classique de l’histoire du cinema documentaire et un modele de cinema d’intervention sociale et politique.
本书的最后一章中集体dedie提问在影片的大火(La hora de los homos,费尔南多和立法等Octavio Getino 1968)、Michael Chanan需求分流近乎挑衅:«为什么celebrer cinquantieme周年纪录片的激进暴力辩护着disgnatori污染物清单革命者?(Campo & Perez-Blanco, 2019: 247)。事实上，许多不同的答案被提出，作为对“第三电影院”的标志性电影的可能解读，这是纪录片电影历史上的经典，也是社会和政治干预电影的典范。
{"title":"Raviver l’incandescence du cinéma politique","authors":"Mickaël Robert-Gonçalves","doi":"10.20287/DOC.D25.LT01","DOIUrl":"https://doi.org/10.20287/DOC.D25.LT01","url":null,"abstract":"Dans le chapitre conclusif de cet ouvrage collectif dedie au film L’heure des brasiers (La hora de los Hornos, Fernando Solanas et Octavio Getino, 1968), Michael Chanan demande de facon presque provocante : « Pourquoi celebrer le cinquantieme anniversaire d’un documentaire militant qui defend une ideologie depassee de la violence revolutionnaire ? » (Campo & Perez-Blanco, 2019 : 247). Des reponses, multiples et diffractees, sont en effet proposees comme autant de lectures possibles d’un film emblematique du « Troisieme cinema », un classique de l’histoire du cinema documentaire et un modele de cinema d’intervention sociale et politique.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"90 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84089409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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