Cabra marcado para morrer: mosaico de fragmentos no documentário de Eduardo Coutinho

• Autor(a) principal: Harris, Hugo de Almeida
• Data de Publicação: 2008
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/5103
• topic: Cinema; Coutinho, Eduardo -- 1933-; Cabra marcado para morrer (Filme); Documentario (Cinema); Metalinguagem; Documentary; Metalanguage; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

This study has as object the Brazilian documentary Cabra Marcado para Morrer , directed by Eduardo Coutinho. Its constitutive elements, that are presented in fragments character memory recovery, remaining scenes from the first project that was interrupted during the military dictatorship, testimonies, archive images, files and newspaper articles , will be analysed to show how they were intimately related in the construction of a movie that is aimed at illustrating an historical era in an alternative way by recovery of individual recollections. The references used by the moviemaker come mainly from two documentary waves the French Cinema Verité and the American Direct Cinema , of which some features will be described in this paper, intending to demonstrate how its articulation also contributed with the narrative syntax of Coutinho s film. By describing how this documentary was created, it is intended to discuss the main problem of this paper that is to demonstrate that the narrative structure fragmentation of the movie and of its cinematographics references work as a tool and they are a reflection of the fragmentation of those portrayed lives, including the moviemaker himself. Eduardo Coutinho s professional development (as a fiction movie director and as a member of the Globo Repórter team in the 70 s and 80 s) during the time when the project was halted, will be mentioned to understand the options used in creating this movie that is recognised as a mark in Brazilian documentary history. The analysis begins with the object and continues through the various elements that compose its arrangement, that results in significant ramifications that will aid in understanding their contribution within the corpus of this cinematographic enterprise. The authors Erik Barnouw, Jean-Claude Bernardet, Silvio Da-Rin, Consuelo Lins, Bill Nichols and Glauber Rocha were fundamental for this analysis. This study will contribute in calling attention to documentary production as the result of various Communication facets, whether semantic or pragmatic. Cabra Marcado para Morrer undermined the characteristics of Brazilian documentaries by the rereading of other methods