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":null,"pages":null},"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}
The present work seeks to develop a critical reflection on the aesthetic possibilities of the documentary as it expands in the spaces of atmospheric immersion and network interaction of the VR360o device. At the juncture of this digital platform, a factual and affective intercommunication space is projected that opens possibilities to produce a transformative assimilation of knowledge.
{"title":"Territórios epistemológicos do Real nas imagens esféricas do dispositivo VR360°","authors":"Alberto Merino Greciano, D. Zanetti","doi":"10.20287/DOC.D25.AR02","DOIUrl":"https://doi.org/10.20287/DOC.D25.AR02","url":null,"abstract":"The present work seeks to develop a critical reflection on the aesthetic possibilities of the documentary as it expands in the spaces of atmospheric immersion and network interaction of the VR360o device. At the juncture of this digital platform, a factual and affective intercommunication space is projected that opens possibilities to produce a transformative assimilation of knowledge.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75950711","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":null,"pages":null},"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":null,"pages":null},"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}
João Gabriel Maracci, S. Favero, Paula Sandrine Machado
This article analyzes how the documentary Meu corpo e politico performs a particular way of activism and political action. We investigate the film’s framework over politics, the body and the separation of public and private dimensions, considering that the approach contraposes the usual frame of transsexuality, but acts over this category using a “veridiction” criterion driven by activism.
{"title":"“Cada comprimido é uma reivindicação de posse”: ativismo e identidade no documentário Meu Corpo é Político","authors":"João Gabriel Maracci, S. Favero, Paula Sandrine Machado","doi":"10.20287/DOC.D25.DT02","DOIUrl":"https://doi.org/10.20287/DOC.D25.DT02","url":null,"abstract":"This article analyzes how the documentary Meu corpo e politico performs a particular way of activism and political action. We investigate the film’s framework over politics, the body and the separation of public and private dimensions, considering that the approach contraposes the usual frame of transsexuality, but acts over this category using a “veridiction” criterion driven by activism.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83638839","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 aim of this text is to analyze three biopics by Martin Scorsese, questioning whether they can function as a source of visual memory/testimonial for the future even if subjectivity interferes in the documentaries montages about Cinema and Theatre, Literature and Music. Regarding the tone and construction of the biopics, we nominated them as “selfie-biopic”, “accomplice-biopic” and “tribute-biopic”. The main corpus of this study includes documentaries in three media: an “accomplicebiopic” about the film and theatre director Elia Kazan, A letter to Elia (2010); a “selfie-biopic”, Public speaking (2010), about the writer Fran Lebowitz; and a “tribute biopic” about Music, George Harrison, living in the material world (2011), portraying the Beatles guitarist. The theoretical frame of reference includes Beatriz Sarlo´s concepts of subjective memory and Julia Kristeva's study of intertexts. Bill Nichols and Fernao Ramos´ concepts are relevant for the definition of modern documentaries as well as Deane Williams´ history of documentary.
{"title":"Martin Scorsese Biopics: visual memory for the future","authors":"D. Araújo, Cynthia L. Schneider","doi":"10.20287/DOC.D25.AR01","DOIUrl":"https://doi.org/10.20287/DOC.D25.AR01","url":null,"abstract":"The aim of this text is to analyze three biopics by Martin Scorsese, questioning whether they can function as a source of visual memory/testimonial for the future even if subjectivity interferes in the documentaries montages about Cinema and Theatre, Literature and Music. Regarding the tone and construction of the biopics, we nominated them as “selfie-biopic”, “accomplice-biopic” and “tribute-biopic”. The main corpus of this study includes documentaries in three media: an “accomplicebiopic” about the film and theatre director Elia Kazan, A letter to Elia (2010); a “selfie-biopic”, Public speaking (2010), about the writer Fran Lebowitz; and a “tribute biopic” about Music, George Harrison, living in the material world (2011), portraying the Beatles guitarist. The theoretical frame of reference includes Beatriz Sarlo´s concepts of subjective memory and Julia Kristeva's study of intertexts. Bill Nichols and Fernao Ramos´ concepts are relevant for the definition of modern documentaries as well as Deane Williams´ history of documentary.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73339716","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}
This article discusses the essay film and the essayist cinema as methods of elaboration of the film narrative, present more directly in the documentary Sertao de acrilico azul piscina (2004), of Karim Ainouz and Marcelo Gomes, and of subjective form in the long Viajo porque preciso, volto porque te amo (2009), by the same directors. He also asks how this construction tends to a narrative intersection, at the junction of several layers and territories of the cinema.
本文讨论了随笔电影和随笔电影作为阐述电影叙事的方法，在Karim Ainouz和Marcelo Gomes的纪录片Sertao de acrilico azul piscina(2004)中更直接地呈现，以及在同一导演的长篇Viajo porque preciso, volto porque te amo(2009)中以主观形式呈现。他还问这种结构如何趋向于叙事的交叉点，在电影的几个层次和领域的交界处。
{"title":"Traços ensaísticos na construção da narrativa fílmica","authors":"Eduardo Paschoal de Sousa","doi":"10.20287/DOC.D24.DT03","DOIUrl":"https://doi.org/10.20287/DOC.D24.DT03","url":null,"abstract":"This article discusses the essay film and the essayist cinema as methods of elaboration of the film narrative, present more directly in the documentary Sertao de acrilico azul piscina (2004), of Karim Ainouz and Marcelo Gomes, and of subjective form in the long Viajo porque preciso, volto porque te amo (2009), by the same directors. He also asks how this construction tends to a narrative intersection, at the junction of several layers and territories of the cinema.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75445272","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}
This paper presents a theoretical discussion about the constitution of a field of studies for the essay film. This research identifies a becoming-essay in both practice and theory of cinema since the 1940s. I also propose a mapping of recent and relevant studies which support the effective constitution of the film essay as an autonomous form or the "fourth domain of cinema" (Teixeira, 2015). Finally, I present a notion of film essay that dialogues with the contributions of authors such as Catala (2005 and 2014) and Corrigan (2015).
{"title":"Ensaio fílmico, eterno devir: projeto de filme inacabado e de um cinema futuro","authors":"Gabriela Machado Ramos de Almeida","doi":"10.20287/DOC.D24.DT06","DOIUrl":"https://doi.org/10.20287/DOC.D24.DT06","url":null,"abstract":"This paper presents a theoretical discussion about the constitution of a field of studies for the essay film. This research identifies a becoming-essay in both practice and theory of cinema since the 1940s. I also propose a mapping of recent and relevant studies which support the effective constitution of the film essay as an autonomous form or the \"fourth domain of cinema\" (Teixeira, 2015). Finally, I present a notion of film essay that dialogues with the contributions of authors such as Catala (2005 and 2014) and Corrigan (2015).","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85040677","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}
{"title":"Entrevista con Diego Rísquez: fragmentos de la imagen de Bolívar en Manuela Sáenz, la Libertadora del Libertador (2000)","authors":"Rafael Arreaza Scrocchi","doi":"10.20287/DOC.D24.EN01","DOIUrl":"https://doi.org/10.20287/DOC.D24.EN01","url":null,"abstract":"","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83629160","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}
Selon Christel Taillibert, lorsqu’elles adoptent une rhetorique basee sur la fiction, les « images ”engagees” peuvent – meme si ce n’est pas le cas de l’ensemble d’entre elles – trouver leur public dans les salles d’exploitation commerciale. Ceci s’avere beaucoup plus rare et difficile lorsque la forme adoptee releve du genre documentaire. »
{"title":"Irrintzina, le cri de la génération climat : un documentaire à la fois « singulier » et « pluriel »","authors":"S. Ravel","doi":"10.20287/DOC.D24.EN02","DOIUrl":"https://doi.org/10.20287/DOC.D24.EN02","url":null,"abstract":"Selon Christel Taillibert, lorsqu’elles adoptent une rhetorique basee sur la fiction, les « images ”engagees” peuvent – meme si ce n’est pas le cas de l’ensemble d’entre elles – trouver leur public dans les salles d’exploitation commerciale. Ceci s’avere beaucoup plus rare et difficile lorsque la forme adoptee releve du genre documentaire. »","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87471198","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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