Filming is listening: history, memory, and alterity in the documentary Santo forte (1999)
History and cinema, in their own and specific ways, construct and narrate representations, views, discourses, and images about an event, a context, a reality, another. Therefore, approaching narratives in both spheres allows us to think about what interpretations their producers propose to build. Gi...
| Autores: | , |
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| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2020 |
| País: | Brasil |
| Recursos: | Universidade de Brasília (UnB) |
| Repositório: | Em Tempo de Histórias (Online) |
| Idioma: | português |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/34190 |
| Acesso em linha: | https://periodicos.unb.br/index.php/emtempos/article/view/34190 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Documentário. História. Eduardo Coutinho Documentary. History. Eduardo Coutinho. |
| Resumo: | History and cinema, in their own and specific ways, construct and narrate representations, views, discourses, and images about an event, a context, a reality, another. Therefore, approaching narratives in both spheres allows us to think about what interpretations their producers propose to build. Given this, in this work, we intend to relate the practices of documentary cinema and history, based on the concepts of “alterity” and “sensitivity”, discussed by the authors Sandra Pesavento and François Hartog. To this end, we analyzed the Brazilian documentary Santo forte (1999), by Eduardo Coutinho, showing how, in his cinema, the director builds a sensitive listening and rhetoric of alterity, which allows us to understand the other from the experiences and narratives of different historical subjects. |
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