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":"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":"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":"18 1","pages":""},"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":"31 1","pages":""},"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":"17 1","pages":""},"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":"23 1","pages":""},"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":"41 1","pages":""},"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}
This article investigates the (auto)biographical procedures adopted by Sarah Polley in her documentary Stories we tell. For this purpose I focus on the chorus of voices that compose the film, the lack of hierarchy between archive images and the recreated images. Thus, it would be possible to think about an autobiography theory sustained by the filmmaker as well as the performative function of storytelling.
{"title":"(Auto)biografia e performance em Stories we tell (2012), de Sarah Polley","authors":"Pedro Henrique Trindade Kalil Auad","doi":"10.20287/DOC.D24.DT02","DOIUrl":"https://doi.org/10.20287/DOC.D24.DT02","url":null,"abstract":"This article investigates the (auto)biographical procedures adopted by Sarah Polley in her documentary Stories we tell. For this purpose I focus on the chorus of voices that compose the film, the lack of hierarchy between archive images and the recreated images. Thus, it would be possible to think about an autobiography theory sustained by the filmmaker as well as the performative function of storytelling.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88411462","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}
Este artigo busca promover delimitacao de balizas conceituais relacionadas ao filme ensaio e aos dispositivos construtores do documentario de busca. Este caminho teorico ainda sera aproximado de um breve estudo de caso do media-metragem Seu Carlito: Narrativas sobre um comerciante da roca , produzido por Eduardo Moreira e Thiago Novais, no interior de Minas Gerais.
本文旨在促进与电影论文相关的概念目标的界定和搜索纪录片的构建工具。这一理论路径将通过对媒体电影《Seu Carlito: Narrativas sobre um mercado da roca》的简短案例研究来近似，该电影由Eduardo Moreira和Thiago Novais在米纳斯吉拉斯州制作。
{"title":"O filme de busca e a construção ensaística de uma memória familiar emoldurada pelas montanhas mineiras","authors":"A. Rocha, E. Moreira","doi":"10.20287/DOC.D24.AC05","DOIUrl":"https://doi.org/10.20287/DOC.D24.AC05","url":null,"abstract":"Este artigo busca promover delimitacao de balizas conceituais relacionadas ao filme ensaio e aos dispositivos construtores do documentario de busca. Este caminho teorico ainda sera aproximado de um breve estudo de caso do media-metragem Seu Carlito: Narrativas sobre um comerciante da roca , produzido por Eduardo Moreira e Thiago Novais, no interior de Minas Gerais.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"133 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80449151","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}
Neste artigo sera analisado o itinerario artistico do documentarista argentino Miguel Mirra e tambem a heterogeneidade que configurou sua trajetoria no cinema documentario, a partir de posicoes a autogestao como forma de producao audiovisual. Analisaremos o caso de La cooperativa (2016), no qual a autogestao e tambem tematizada dentro do contexto social argentino.
{"title":"Miguel Mirra e seu método de trabalho de autogestão junto aos oprimidos no filme La cooperativa","authors":"A. Gamo, Luis Orcasitas","doi":"10.20287/DOC.D24.AC02","DOIUrl":"https://doi.org/10.20287/DOC.D24.AC02","url":null,"abstract":"Neste artigo sera analisado o itinerario artistico do documentarista argentino Miguel Mirra e tambem a heterogeneidade que configurou sua trajetoria no cinema documentario, a partir de posicoes a autogestao como forma de producao audiovisual. Analisaremos o caso de La cooperativa (2016), no qual a autogestao e tambem tematizada dentro do contexto social argentino.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83865560","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 proposes an analysis of women ’s documentary discourse from Brazilian films dealing with abortion. I seek a problematization of some strategies and arguments considering that they are defining an ethical and political space in the sense that they highlight the voices that propose to give voice to a historical subject (the woman) to whom they represent – women documentary filmmakers – through very specific ways.
{"title":"Severinas, clandestinas e as outras brasileiras: uma breve análise sobre um discurso documental feminino sobre o aborto","authors":"Ana Paula Penkala","doi":"10.20287/DOC.D24.AR01","DOIUrl":"https://doi.org/10.20287/DOC.D24.AR01","url":null,"abstract":"This article proposes an analysis of women ’s documentary discourse from Brazilian films dealing with abortion. I seek a problematization of some strategies and arguments considering that they are defining an ethical and political space in the sense that they highlight the voices that propose to give voice to a historical subject (the woman) to whom they represent – women documentary filmmakers – through very specific ways.","PeriodicalId":30245,"journal":{"name":"Doc OnLine Revista Digital de Cinema Documentario","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86050617","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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