O espaço comum na prática do filme documentário: memórias de uma comunidade de cinema

• Ano de defesa: 2016
• Autor(a) principal: Douglas Mosar Morais Resende
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais
• Palavras-chave em Português: Espaço urbano; Documentário (Cinema) Belo Horizonte (MG); Cinema Aspectos sociais; Vida comunitária; Espaço comum; Ocupação urbana; Política; Cinema documentário
• Link de acesso: https://hdl.handle.net/1843/BUBD-AMUPPW

In the daily life of a spontaneous self-constructed urban settlement in the metropolitan region of Belo Horizonte, there remains a film community formed by a radical plurality of individuals who film the political and everyday life of that territory, while safeguarding their collective memory. As such, the production of meaning and the narrative that is created within that community owe considerably to the practice of filmmaking. The present research has proposed to produce a space of envisaging together this audiovisual memory in order to put it in perspective and produce new footage, new memories and new actions using the feedback method (or shared cinema, as Ive preferred to call), that has been practiced from Flaherty and Rouch to Coutinho and the contemporary filmmakers from Video nas Aldeias. I propose to consider this space of sharing for a voir ensemble (of which speaks Jean-Toussaint Desanti) as a possibility of a common space in the practice of film documentary, taking into account the concept of the common, especially as in Jean-Luc Nancy and Desanti as well as in the sense of communities of cinema elaborated by César Guimarães. The result of this research is structured in three parts the theoretical (which addresses the concepts I invoke and places, historically and theoretically, the questions brought up), the practice (of audiovisual production) and the description/reflection on practice (written around the concrete experience) with a single question that traverses them: how can we build a common space in the practice of documentary film?