Identidades partilhadas e potências sensíveis do documentário no Rio Grande do Sul

• Ano de defesa: 2019
• Autor(a) principal: Borba, Marcos Severino de
• Orientador(a): Tomaim, Cássio dos Santos
• Banca de defesa: Lisbôa Filho, Flavi Ferreira, Brignol, Liliane Dutra, Gutfreind, Cristiane Freitas, Barbalho, Alexandre Almeida
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Santa Maria; Centro de Ciências Sociais e Humanas
• Programa de Pós-Graduação: Programa de Pós-Graduação em Comunicação
• Departamento: Comunicação
• País: Brasil
• Palavras-chave em Português: Documentário; Identidade; Políticas públicas; Potência política do documentário
• Palavras-chave em Inglês: Documentary; Identity; Public policies; Political power of documentaries
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: http://repositorio.ufsm.br/handle/1/22119

This thesis discusses the political dimension of documentaries and seeks to add elements that stress the constitution of the identity of documentary production in Rio Grande do Sul. We problematize the impact of public policies in the productive chain of documentary films in the State, taking into account projects registered between 2011 and 2016 in the Fund for Support to Culture (FAC/RS), financing mechanism of the Department of State Culture. The objective is to investigate the identity of the production of documentaries made from the public fomentation in Rio Grande do Sul; discussing the power of documentary films; map the aesthetic and narrative innovations proposed by the filmmakers; discuss the impact of public funding policies on production; and identify the marks of the political gestures of documentaries. Theoretically, we understand the documentary as a space of identity representations that mark the contemporary subject. We mark the becoming of documentary films as a production engaged in reality and that has an intrinsic political power, because, from its aesthetic matter, it acts in the sharing of a sensible. We work with a multi-methodological perspective, but one that assigns a greater weight to the filmic analysis. The 29 films analyzed are divided between representations of urbanities, ruralities, ethnicities and biographies, categories that present diverse forms of identities, all of them removed from the hegemonic representation that is based on the idea of the gaucho myth. As aesthetic matter, documentaries maintain the classical form of production, affiliated with the mode of expository representation, which prioritizes the argumentation of ideas, to the detriment of aesthetic experimentation. Our thesis states that documentaries have an intrinsic political power because they consist of at least three gestures. First, they reflect the engagement of the documentarist with the real. Second, it is made from the encounter with the Other, by sharing a common space and time, and by establishing a relationship (of harmony or conflict). Finally, the power of documentaries lies in the aesthetic and narrative matter that can reveal/widen the fissures of the ordination of the common, either by inserting the subjects that are not part of the common in a sensible way or by the aesthetic gesture that causes a questioning of the naturalized form of life lived. Keywords: Documentary; Identity; Public Policies; Political Power of Documentaries.