| Titre | Ausências, objetos e sujeitos periféricos no documentário brasileiro contemporâneo | |
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| Auteur | Daniel Velasco Leão | |
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Revue | Amerika |
| Numéro | no 28, 2024 Périphérie(s) dans les imaginaires et les récits latino-américains contemporains | |
| Rubrique / Thématique | Dossier : Périphérie(s) dans les imaginaires et les récits latino-américains contemporains Discours et sociétés |
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| Résumé anglais |
Historically, Brazilian documentaries were constituted as a discourse about the Other. In its early days, adventurous filmmakers, almost all of them European, traveled the country documenting provincial landscapes and families. In modernity, Brazilian documentaries, made by young middle-class intellectuals, pursuing national (or Latin American) identity, denouncing social ills and “giving voice” to the Other: illiterates, peasants, and residents of favelas, all considered peripheral. The contemporary documentary stands out from those manifestations for its relevant production of stories about class, gender, race of its director. This results from a double movement: the old social actors turn the camera towards themselves, while new actors start to make films. This change is rooted to historical circumstances that would have contributed to the both movements, which were also mutually influenced: the advent of new technologies (allowing democratization of production while providing a more intimate approach, a central mark of the so-called Subjective Turn verified by Beatriz Sarlo) and the deflation of narratives based on rigid sociological paradigms, which lost ground after the fall of the Berlin Wall (and, in Brazil in particular, after the end of the military dictatorship) to more subjective approaches in which the Place of Speech is accentuated. In these productions, the "peripheries" often become new “centers”. We will demonstrate this change in contemporary documentary, mentioning the unavoidable production of Eduardo Coutinho (in his openness to the imagination and the account of the Other) and accentuating its consequences on the representation of indigenous people (approaching the project Vídeo nas Aldeias) and black people in power (especially in Sementes — mulheres pretas no poder (Oliveira and Mariano, 2020). Source : Éditeur (via OpenEdition Journals) |
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| Article en ligne | https://journals.openedition.org/amerika/19373 |
