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

2-12

Authors: Patrícia Castello Branco

In this essay I will try and develop the concept of haptic visuality, departing from three important films of the history of Portuguese Cinema: The Dance of the Paroxysms (Jorge Brum do Canto, 1929), Change of Life (Paulo Rocha, 1967) and Uprise (Sandro Aguilar, 2008). I will begin with an introduction to the concept of haptics, as Alois Riegl originally conceived it. Next, I will engage in a specific analysis of the above films, starting with Brum do Canto’s The Dance of the Paroxysms. I will try and examine the unique relationship Brum do Canto establishes between haptic visuality and the subversion of Portuguese rural landscape. I will proceed with an analysis of Paulo Rocha’s Mudar de Vida, focusing on what I consider to be the main aesthetic element of the work: the composition of a space that dwells in a continuous passage between physical relations with reality and emotional and social ones. I will conclude with a brief examination of Sandro Aguilar's The Zone, trying to assess how this film incorporates practices typically denoted as haptic, a concept that I will once again try and develop.

30-41

Authors: Rui Mourão

Huni Kuin Laboratory is an artistic-ethnographic research project developed from a field study on artistic practices in rituals of the Huni Kuin Indigenous people in Acre (Western Amazonia, Brazil). It articulates the ritual performance of the Other, the ritual performance of the Self while researching the Other, and what is common in both. It focuses on how to develop an artistic language that establishes an analogy with shamanic ritual dynamics, namely at the level of the relationship between consciousness, body, and image. The Huni Kuin ritual performance links the "forest cinema" (Gow, 1995) of ayahuasca with geometric visual aesthetics (kene) and musical aesthetics (huni meka). Its artistic documentary recording on video is a meta-performance of ritual performance. Performative approaches are thus "simultaneously subject and method" (Conquergood,1989: 82). The filmed and edited images work as an axial metaphor that incorporates an Amerindian ontology of "two and its multiple" (Lima, 1996). To summarize, intersecting theory and practice, the goal is to reflect on the relationship between the moving image and the ritualized movement of the performative search of the Self and the Other, considering aesthetics, myths, and archetypes. This happens in a field of experimentation between art as ritual and ritual as art.

50-63

Authors: Lara Silva Fagundes

How Brazilian Documentary shows the “favelas”: The local community participation in the reality representation. The documentary film can be considered the cinema essence. As Penafria (1999) points out, the first moving images were only meant to record the events of life. Today inserted as a cinematographic genre, the documentary assumes anthropological importance and relevance in a social and cultural dimension, by the exhibition and representation of distinct realities and by the reflection on the identities construction on territories and the bodies that inhabit them. The present research was developed to investigate ten documentaries produced among 2010 and 2016, at Rio de Janeiro (Brazil), on the theme "favelas", to develop a categorical analysis on the relevant aspects of each audiovisual production and to discuss the representations of the reality of these communities and their residents. The films show the relationship of the protagonists with the audiovisual productions, their participation in the conception of documentaries, the relationship between man and territory, the residents' experiences in the neighborhoods and their multiple actions. The participative character of the productions analyzed allows us to reflect on the self - representation of the “favelas” inhabitants on the documentary and as an instrument of social mobilization that surpasses urbanistic barriers and seeks to promote social development.