Extract
[...] Or How a Specific Filmic Object Questions Cinema's Boundaries, Sociology's Boundaries. Année sociologique, 97-. Xavier, I. (2013). Investigations around Eduardo Coutinho and his dialogue with modern tradition. Communication & Information, 180-187. https://doi.org/10.5216/c&i.v7i2.24304 Xavier, I., & Artozqui, S. (2015). Ways of listening in a visual medium. Agone: philosophy, critique, & literature, 65-90. https://doi.org/10.3917/agone.057.0065 2. Works viewed Coutinho E., (1984), Cabra Marcado Para Morrer Coutinho E., (1999), Santo Forte Coutinho E., (2000), Babilônia Coutinho E., (2002), Edifício Master Coutinho E., (2007), Jogo de Cena 3. [...]
[...] Brazilian Journal of Presence Studies, 14(1). https://doi.org/10.1590/2237-2660134563vs01 Gonçalo P., 'Cinematographic Criticism: The Fragile Utopia of Cinéphile Communities', in Laécio Ricardo de Aquino Rodrigues Criticism and Curating in Cinema. Multiple Approaches, PPGCOM Seal, Belo Horizonte pp. 124-125 Lins, C. (2004). Eduardo Coutinho's Documentary: Television, Cinema and Video. Rio de Janeiro: Jorge Zahar Mesquita, C. C. (2016). Between now and then: the writing of history in Eduardo Coutinho's cinema. Galáxia (São Paulo) 54-65. https://doi.org/10.1590/1982-25542016124255 Ottone, G. [...]
[...] Definitions and characteristics of documentary listening to filmed speech A. Documentary listening to filmed speech, a framework for film analysis As we mentioned in the introduction, documentary listening to filmed speech is above all a framework for film analysis, a way for the researcher, critic, or spectator to perceive and analyze filmed speech within a documentary film, taking into account the existing interactions between speech, sounds more broadly, and the image. Practicing documentary listening to filmed speech is essential since filmed speech is a central film element often in the documentary. [...]
[...] From the act of filming emerges an empathetic listening aesthetic and free speech described by Manon Ott, filmmaker and director of photography: 'The act of speaking in front of the camera is also a creative act. For the one filming, the exercise of listening proper to the in-depth interview is then added to an exercise of the gaze. While filming, the filmmaker listens and films the other's word, but also their silences or hesitations. The camera allows us to capture their voice, but also their face and expressions, their gestures, language, and body posture . Filmed speech is embodied speech, augmented by the sensitive presence of the one carrying it. [...]
[...] Eduardo Coutinho's documentary style evolved from the 1960s to his death in 2014. Among his early works, Cabra Marcada para Morrer (1984) evokes 20 years of military rule in Brazil. In this film, the restitution of historical facts by the voiceover accompanies the filmed words of people who lived through this military dictatorship years later, Santo Forte (1999) marked the beginning of what the film expert Giovanni Ottone names 'his relational cinema' in which he begins to implement 'mechanisms that provoke and allow filming encounters' (Giovanni, 2010). [...]
