Under the tremor of images: politics and direct action on the Xavante lens
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Galáxia (São Paulo) |
Texto Completo: | https://revistas.pucsp.br/index.php/galaxia/article/view/46463 |
Resumo: | This paper seeks to measure the use of indigenous audiovisual production as a strategic resource in the struggle for rights. We are interested in highlighting the determining presence of the camera as a recording device that oscillates as a political weapon, placing itself at the center of the conflict as an eyewitness. For this our analysis is based on two documentaries made by Xavante Divino Tserewahú. The first is the record of the direct confrontation between indigenous people of the Sangradouro community and police authorities of the municipality of Primavera do Leste, driven after the allegedly illegal arrest of a young man from the community. The second is a documentary about the 25th anniversary celebration of the Macuxi People’s struggle for the homologation of the Raposa Serra do Sol Indigenous Land, in Roraima. |
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Under the tremor of images: politics and direct action on the Xavante lensSob o tremor das imagens: política e ação direta na lente xavanteaudiovisualpovo Xavantecinema indígenaaudiovisualXavante peopleindigenous cinema.This paper seeks to measure the use of indigenous audiovisual production as a strategic resource in the struggle for rights. We are interested in highlighting the determining presence of the camera as a recording device that oscillates as a political weapon, placing itself at the center of the conflict as an eyewitness. For this our analysis is based on two documentaries made by Xavante Divino Tserewahú. The first is the record of the direct confrontation between indigenous people of the Sangradouro community and police authorities of the municipality of Primavera do Leste, driven after the allegedly illegal arrest of a young man from the community. The second is a documentary about the 25th anniversary celebration of the Macuxi People’s struggle for the homologation of the Raposa Serra do Sol Indigenous Land, in Roraima. Este artigo dimensiona o uso da produção audiovisual indígena como recurso estratégico na luta por direitos. Interessa-nos dar relevo para a presença determinante da câmera enquanto dispositivo que oscila como arma política, colocando-se no centro do conflito como testemunha ocular. Nossa análise baseia-se em dois documentários realizados pelo cineasta xavante Divino Tserewahú. O primeiro é o registro do confronto direto ocorrido entre indígenas da comunidade de Sangradouro e autoridades policiais do município de Primavera do Leste (MT), impulsionado após a detenção de um jovem da comunidade. O segundo é um documentário sobre as comemorações dos 25 anos da política do Povo Macuxi pela homologação da Terra Indígena Raposa Serra do Sol, em Roraima. PEPG COS-PUC-SP2020-10-07info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/46463Galaxia; No. 45 (2020)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 45 (2020)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/46463/33174Copyright (c) 2020 Galáxia. Revista do Programa de Pós-Graduação em Comunicação e Semiótica. ISSN 1982-2553info:eu-repo/semantics/openAccessCosta, GilsonGalindo, Dolores2020-10-07T13:21:29Zoai:ojs.pkp.sfu.ca:article/46463Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2020-10-07T13:21:29Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
Under the tremor of images: politics and direct action on the Xavante lens Sob o tremor das imagens: política e ação direta na lente xavante |
title |
Under the tremor of images: politics and direct action on the Xavante lens |
spellingShingle |
Under the tremor of images: politics and direct action on the Xavante lens Costa, Gilson audiovisual povo Xavante cinema indígena audiovisual Xavante people indigenous cinema. |
title_short |
Under the tremor of images: politics and direct action on the Xavante lens |
title_full |
Under the tremor of images: politics and direct action on the Xavante lens |
title_fullStr |
Under the tremor of images: politics and direct action on the Xavante lens |
title_full_unstemmed |
Under the tremor of images: politics and direct action on the Xavante lens |
title_sort |
Under the tremor of images: politics and direct action on the Xavante lens |
author |
Costa, Gilson |
author_facet |
Costa, Gilson Galindo, Dolores |
author_role |
author |
author2 |
Galindo, Dolores |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Costa, Gilson Galindo, Dolores |
dc.subject.por.fl_str_mv |
audiovisual povo Xavante cinema indígena audiovisual Xavante people indigenous cinema. |
topic |
audiovisual povo Xavante cinema indígena audiovisual Xavante people indigenous cinema. |
description |
This paper seeks to measure the use of indigenous audiovisual production as a strategic resource in the struggle for rights. We are interested in highlighting the determining presence of the camera as a recording device that oscillates as a political weapon, placing itself at the center of the conflict as an eyewitness. For this our analysis is based on two documentaries made by Xavante Divino Tserewahú. The first is the record of the direct confrontation between indigenous people of the Sangradouro community and police authorities of the municipality of Primavera do Leste, driven after the allegedly illegal arrest of a young man from the community. The second is a documentary about the 25th anniversary celebration of the Macuxi People’s struggle for the homologation of the Raposa Serra do Sol Indigenous Land, in Roraima. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-10-07 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/46463 |
url |
https://revistas.pucsp.br/index.php/galaxia/article/view/46463 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/46463/33174 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
dc.source.none.fl_str_mv |
Galaxia; No. 45 (2020) GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 45 (2020) 1982-2553 reponame:Galáxia (São Paulo) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Galáxia (São Paulo) |
collection |
Galáxia (São Paulo) |
repository.name.fl_str_mv |
Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
cos@pucsp.br||aidarprado@gmail.com |
_version_ |
1799129331810697216 |