Master's Dissertation
DOI
https://doi.org/10.11606/D.27.2023.tde-12042023-125837
Document
Author
Full name
Fabio Geovanni Gomes Teixeira Costa Menezes
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2023
Supervisor
Committee
Gervaiseau, Henri Pierre Arraes de Alencar (President)
Brasil, André Guimarães
Saraiva, Leandro Rocha
Title in Portuguese
Para que o mundo prossiga: uma análise do cinema-processo de Vincent Carelli na trilogia Corumbiara, Martírio e Adeus, Capitão.
Keywords in Portuguese
cinema-processo
documentário
vídeo-ativismo
Abstract in Portuguese
Uma análise do cinema-processo de Vincent Carelli, a partir dos filmes Corumbiara (2009), Martírio (2016) e Adeus, Capitão., no intuito de interrogar seu método de fazer cinema, entre o ativismo indigenista e a reflexão em torno do próprio arquivo, que ele acumulou em mais de três décadas de uso do vídeo. Um cinema no qual o gesto de realizar sons e imagens nasce descolado da concepção de uma obra cinematográfica imaginada a priori; um trabalho cujo propósito ultrapassa o simples fazer filmes, respondendo a critérios para além dos usuais do fazer artístico. Pretende-se traçar um panorama de sua trajetória como ativista e, a partir de um corpo-a-corpo com os três filmes citados, traçar pontos de aproximação entre o seu trabalho e questões do cinema documentário contemporâneo: as relações entre o cineasta e o sujeito filmado, o estatuto da imagem de arquivo e do comentário pessoal na construção do discurso fílmico, os diálogos com o ensaio e a autobiografia.
Title in English
-
Keywords in English
cinema-process
documentary
video-activism
Abstract in English
An analysis of Vincent Carelli's process-cinema, based on Corumbiara, they shoot indians, dont they? (2009), Martyrdom (2016) and Goodbye, Captain., in order to question his method of making films, between indigenous activism and a meditation on his own archive footage, which he amassed over three decades of video-activism. A filmmaking method in which the gesture of recording sound and image is detached from the conception of film as the first product; a work whose purpose goes beyond simple filmmaking, responding to criteria beyond the usual ones of the artistic work. I intend to overview his trajectory as an activist and, through a close look on the three mentioned films, trace points of approximation between his work and issues of contemporary documentary cinema: the relations between the filmmaker and the filmed individuals, the status of archive footage and personal voice over commentary in the construction of the films, as well as the dialogues with the essay and the autobiography tradition.
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Publishing Date
2023-04-12