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

2-15

Authors: Natacha Cyrulnik

The method of the documentary in connection with the possible interactions between its protagonists (filmmaker, filmed and spectator) is, at first, going to help to define the identities of these participants in the construction of the documentary movie. Then, are the diverse forms of territorial identities that will allow to encircle better the apprehension of the filmed territories. So, the link between these protagonists and the place which weaves will reveal the contribution of the documentary cinema to help to understand better a territory in a more sensitive registration.

26-38

Authors: Samuel Leal

According to the anthropologist Els Lagrou, the claim of contemporary indigenous identities involves adherence to a “specific regime of aesthetic production of knowledge”. We will take such a “production regime” as a territory of identitary belonging, in order to think audiovisual practices in an indigenous community of the xavante ethnic group located at the Brazil Central Highlands. We will analyze a mediumlength video that shows a walk of adults and children through their territory, whose final destination is the area of an old village. The site is currently outside the boundaries of the reserve and is occupied by farmers. We will think on the video in the relation between image, memory and territory, this understood as a space at the same time physical, identitary and imagetic. The film mobilizes the community history within the physical displacement in the territory, to which corresponds a displacement in the time, because it engenders the recovery of a memory. This double displacement projects the gaze to the past of the physical territory (the land), in order to expand the possibilities of access to the symbolic territory (the identity), through the consolidation of an imagetic territory (the film).

46-56

Authors: Gabriela Santos Alves

Realization process of the short film Cages: motherhood, feminist theory and prison system in Brazil The objective of this proposal is to deal with the realization process of the short film Cages, a documentary that deals with the relationship between motherhood and the female prison system in Brazil, based on the experience and the encounter between a set team consisting exclusively of women, in order to address an important theme for feminist theory, maternity, in a specific environment: the nursery of the Feminine Penitentiary of Cariacica, located in the state of Espírito Santo, Brazil. The documentary was scripted and directed by me. The film was built from this meeting between women, especially from their conversations. For the movie crew, listening to what pregnant women and/or with new born children was the main action – what did these women in detention have to say? The data that drove the writing of the plot and the film project was the alarming and continuous growth of the female population in Brazilian prisons in the last fifteen years, which was 567.4%.

67-74

Authors: Luiz Claudio MOtta Lima e Rafael Mattoso

The present work seeks to produce a reflection on the suburban identities from the documentary Alma Suburbana, idealized, produced and exhibited, initially, in the year 2007. Since the beginning of the production of the film, the intention was to give voice to the residents of the suburbs of Rio de Janeiro, who most often contest the derogatory way suburban neighbourhoods are portrayed in media, in general. The team was mainly made up of a group of students from the municipal education system and the intention was to show how the suburbs are actually seen by their residents and also, by those who seek to problematize such subject even though they do not live in a suburb. The interviewees were chosen, from the relevance of their cultural activities, in the field of musical production, cinematographic, poetic, dance, among other suburban activities. The chosen aesthetic was the documentary film of interviews, inspired by the cinematographer Eduardo Coutinho, who worked to make the documentary very lean. Taking advantage of the influence of the filmmaker, the authors of the film also put themselves as characters of the documentary, interrupting the interviewees, appearing in the scenes of the film and mainly claiming their space in the city.

86-91

Authors: Fernando Baños-Fidalgo

In The Generation of Postmemory, Marianne Hirsch describes "postmemory" as the relationship that the "generation after" the Holocaust bears to the personal, collective, and cultural trauma of those who came before, to experiences that were transmitted so deeply and affectively – by means of the stories, images, and behaviors among which they grew up – as to "seem" to constitute memories in their own right. However, at a time when most of the Holocaust survivors have already died, another kind of individual memory takes place. It is that of the generations who, despite not having those experiences, have established some kind of link with the trauma through its images (and its representations) that contribute (as historical, literary or artistic work)to recontextualize a past that has never to be forgotten.

102-106

Authors: Maria João Seixas

Between Poetry, as “sacred territory” and Cinema, its “devout acolyte” it was intended to bring to the discussion its difficult and improbable relation. It was from The Color of Pomegranate (1968) by Serguei Paradjanov, that Maria João Seixas set out to contribute for a reflection between Cinema and the literary territory, Poetry.