Cinema & Território. Revista internacional de arte e antropologia das imagens

14-24

Authors: Filomena Silvano

Dans les années 1997 et 1998, j’ai accompagnée les tournages de Esta é a minha casa et Viagem à Expo, deux films de João Pedro Rodrigues et, en 2010, une partie des tournages de Alvorada Vermelha et A última vez que vi Macau, de João Pedro Rodrigues et João Rui Guerra da Mata. Dans les deux cas, j’ai pris l’expérience de participation dans les tournages comme un travail ethnographique. Avec cet article, je prétends montrer la façon de faire de l’anthropologie, fondement des textes que j’ai écrit postérieurement. Je pense que le cinéma de João Pedro Rodrigues accède au réel à l’intérieur d’un mode de description qui opère par intégration dans/des forces qui le constituent. Dans ce sens,il s’assimile aux descriptions de certains anthropologues. Mais, à l’instar de celles-ci, une description contient déjà une interprétation, celle-ci indissociable de son auteur. En utilisant les descriptions du cinéaste, j’ai donc eu accès à une partie du réel qui m’aurait été autrement cachée. Ma description anthropologique est une relecture, dans la mesure où j’ai travaillé en partant d’une description, faite par un cinéaste, de ce que j’avais moimême observé. En partant des deux expériences sus-citées, le texte présente quelques réflexions sur la question territoriale.

34-40

Authors: Ana Paula Almeida

The First World War (1914-1918) was a privileged stage to experience the power of advertising in the context of war. The different countries involved in the war soon realized the importance of advertising, using posters as a mean of justification for their involvement in the conflict, in the recruitment of soldiers and how to support the military campaign. Advertisement was a way to persuade people that war was essential, once it was a fight for freedom. The purpose of this communication is to examine the cinema contribution at war advertising and the role of Motion Picture Service Army, in 1917, when Portugal joined the First World War.

58-78

Authors: José da Silva Ribeiro

The community against the powers: resistance and social reflexivity. As reference we take 3 films where people react against established powers, resisting for decades, providing and solidifying building up processes of community and local culture. The first film Tous au Larzac! (2011) of Christian Rouaud, documents the contemporary history of farmers that have fought for a decade (1971-81) for the owning of the land and against expropriation, in result of a decision of the French Ministry of Defence of expanding the military base of the region of Larzac, in the south of France, and the building up process of a community around the fight and resistance. The second film,Finding our way (2011), of Giovanni Attili and Leonie Sandercock, acompained by a powerful hipermediatic device of unavoidable pedagogic value and of social reflexivity, tells the story of robbed people from their territory and the conflicts not yet worked out of the indigenous people, the industry and the Canadian government in the British Columbia. The third movie, Boe Ero Kurireu – The Bororo big tradition (2007) of Paulinho Ecerae Kadojeba proposes to register the bororo culture from its own culture. The film is a detailed ethnographic description and a careful work about sonorities and comment, as well as the confront with the representations of Globo TV in reference of the ethical questions of the research. The three films constitute a process of social reflexivity and an excellent place of observation and analysis of the confront between the logic of reciprocity of the cinematographic production and the local communities with interest in industry, army, state, of the hegemonic means of political and economic power and of symbolic local representations. We have tried to draw a few lines of comparability between the cinematographic production processes, the resistance of the local culture and social reflexivity.

83-95

Authors: Alexandra Pinto

This article discuss some creative experiences developed during the work in progress called "Travels, travelers and moving images” (“Viagens, viajantes e imagens em movimento”). It was started by the author in 1993 under the title of The Road (D’Estradas), including the production of the documentary Passante (Passing) about Brazilian road characters andalso Mundança (Mix of words: World-Dance- WalkingChange) about travelers in the train. Both were awarded by the São Paulo State Culture Department. Despite the historic chatacter of the project, it also includes some fiction works with them as well as an interactive installation. All was done using the same gross material, focusing on editing as a fundamental creative act, a writing with images and sounds.

106-115

Authors: Carlos Valente

This article analyses the short film The Girl Chewing Gum (John Smith, 1976)placing it in the context of experimental trend to which it is associated, linked to the structural cinema. The film is, in first place, a document of the director's gaze about the reality of common day-to-day situations, but it's much more than that because the voice that the director overlaps on the shot modify, in a disruptive way, the pro-filmic material. The "territory" of the film is thus deconstructed in ironic and radical way. To what extent is image, as a real document, transformed and "fictionalized" by the gaze (and voice) of the director? All cinema does that, certainly, but John Smith exposes this specific cinematic "territory", with a reflective and deconstructive attitude that takes viewers back to this oldest and essential question: what is cinema?

128-133

Authors: Teresa Norton Dias

On this reflection, we have privileged the concept of non-place and the connection we wanted to establish with non-films, produced without the intervention of the human eye. We have used the 'Lisbon Story. Trip to Lisbon' and the lesson that the German filmmaker, Wim Wenders, gives us about the non-possibility of quite knowing a place.