The mise-en-scène of the documentary: Eduardo Coutinho and João Salles
Autor(a) principal: | |
---|---|
Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Rebeca (São Paulo) |
Texto Completo: | https://rebeca.socine.org.br/1/article/view/8 |
Resumo: | In this essay we will examine two recent documentaries by Brazilian directors João Moreira Salles (Santiago) and Eduardo Coutinho (Jogo de Cena). The analysis of the films will draw upon phenomenological methodology, emphasizing the relationship between the subject holding the camera in the take and the world that reveals itself to him, which opens itself through his body (subject-of-the-camera) to the spectator. We use the term staging (reenactment) to describe this relationship between the world (which includes objects and people in motion) and the subject which embodies the camera machine. Mise-en-scène denotes the way staging is set in the take, including the material aspects that comprise the scene and its future narrative arrangement (in shots). Looking at the history of documentary film, we can see two structural variants of action in the take to the subject-of-the-camera. We will call constructed stagingany action or expression that has been prepared by the cameraman beforehand. The free action occurring in front of a camera, without direct involvement or direction from the subject-of-the-camera, will be called direct staging. In the case of a close- up through direct staging the uncertainty of the action is the physiognomy in itself, which figures affect or affection. In Jogo de Cena, Coutinho uses a variety of staging techniques which are combined in a deconstructivist way. In Santiago, Salles contrasts two historical types of staging in a movement driven by remorse. |
id |
SOCINE-1_d532414428916cec4b177aef13e2571a |
---|---|
oai_identifier_str |
oai:ojs.emnuvens.com.br:article/8 |
network_acronym_str |
SOCINE-1 |
network_name_str |
Rebeca (São Paulo) |
repository_id_str |
|
spelling |
The mise-en-scène of the documentary: Eduardo Coutinho and João SallesA mise-en-scène do documentário: Eduardo Coutinho e João SallescinemadocumentarystagingEduardo CoutinhoJoão Moreira Sallesteoria do documentárioencenação direta e construídaJoão Salles - Eduardo Coutinho.In this essay we will examine two recent documentaries by Brazilian directors João Moreira Salles (Santiago) and Eduardo Coutinho (Jogo de Cena). The analysis of the films will draw upon phenomenological methodology, emphasizing the relationship between the subject holding the camera in the take and the world that reveals itself to him, which opens itself through his body (subject-of-the-camera) to the spectator. We use the term staging (reenactment) to describe this relationship between the world (which includes objects and people in motion) and the subject which embodies the camera machine. Mise-en-scène denotes the way staging is set in the take, including the material aspects that comprise the scene and its future narrative arrangement (in shots). Looking at the history of documentary film, we can see two structural variants of action in the take to the subject-of-the-camera. We will call constructed stagingany action or expression that has been prepared by the cameraman beforehand. The free action occurring in front of a camera, without direct involvement or direction from the subject-of-the-camera, will be called direct staging. In the case of a close- up through direct staging the uncertainty of the action is the physiognomy in itself, which figures affect or affection. In Jogo de Cena, Coutinho uses a variety of staging techniques which are combined in a deconstructivist way. In Santiago, Salles contrasts two historical types of staging in a movement driven by remorse.Neste ensaio abordaremos dois documentários recentes dos diretores brasileiros João Salles (Santiago) e Eduardo Coutinho (Jogo de Cena). Para analisá-los, buscamos desenvolver análise, com inspiração de metodologia fenomenológica, colocando ênfase na relação entre o sujeito que sustenta a câmera na tomada e o mundo que a ele se oferece, abrindo-se pelo seu corpo (sujeito-da-câmera) ao espectador. Denominamos de encenação essa relação entre o mundo (com pessoas agindo e coisas) e o sujeito que encarna a máquina câmera. A mise-en-scène designa o modo pelo qual a encenação é disposta na tomada, levando-se em conta os diversos aspectos materiais que compõe a cena e sua futura disposição narrativa (em planos). Olhando para história do documentário podemos notar duas variantes estruturais na ação das pessoas para o sujeito-da-câmera. Chamamos de encenação-construída, a ação ou expressão, preparada, de modo anterior, pelo sujeito-da-câmera. Chamamos de encenação-direta a ação para a câmera solta no mundo, ocorrendo sem uma flexibilização direta pelo sujeito-da-câmera. No caso de um primeiro plano de encenação direta, a indeterminação da ação é a própria fisionomia, conformando-se em afeto ou afecção. Em Jogo de Cena estão dispostas diversas modalidades de encenação que interagem entre si articulando-se em um corte desconstrutivo. Em Santiago duas modalidades históricas do encenar contrapõe-se, num movimento animado pela má-consciência.SOCINE - Sociedade Brasileira de Estudos de Cinema e Audiovisual2016-07-25info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://rebeca.socine.org.br/1/article/view/810.22475/rebeca.v1n1.8REBECA - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 1 No. 1 (2012): REBECA 1REBECA - Revista Brasileña de Estudios de Cine y Audiovisual; Vol. 1 Núm. 1 (2012): REBECA 1Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 1 n. 1 (2012): REBECA 12316-9230reponame:Rebeca (São Paulo)instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)instacron:SOCINEporhttps://rebeca.socine.org.br/1/article/view/8/2Ramos, Fernão Pessoainfo:eu-repo/semantics/openAccess2016-07-25T22:53:12Zoai:ojs.emnuvens.com.br:article/8Revistahttps://rebeca.socine.org.br/1ONGhttps://rebeca.socine.org.br/1/oairebeca@socine.org.br2316-92302316-9230opendoar:2016-07-25T22:53:12Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)false |
dc.title.none.fl_str_mv |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles A mise-en-scène do documentário: Eduardo Coutinho e João Salles |
title |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles |
spellingShingle |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles Ramos, Fernão Pessoa cinema documentary staging Eduardo Coutinho João Moreira Salles teoria do documentário encenação direta e construída João Salles - Eduardo Coutinho. |
title_short |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles |
title_full |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles |
title_fullStr |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles |
title_full_unstemmed |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles |
title_sort |
The mise-en-scène of the documentary: Eduardo Coutinho and João Salles |
author |
Ramos, Fernão Pessoa |
author_facet |
Ramos, Fernão Pessoa |
author_role |
author |
dc.contributor.author.fl_str_mv |
Ramos, Fernão Pessoa |
dc.subject.por.fl_str_mv |
cinema documentary staging Eduardo Coutinho João Moreira Salles teoria do documentário encenação direta e construída João Salles - Eduardo Coutinho. |
topic |
cinema documentary staging Eduardo Coutinho João Moreira Salles teoria do documentário encenação direta e construída João Salles - Eduardo Coutinho. |
description |
In this essay we will examine two recent documentaries by Brazilian directors João Moreira Salles (Santiago) and Eduardo Coutinho (Jogo de Cena). The analysis of the films will draw upon phenomenological methodology, emphasizing the relationship between the subject holding the camera in the take and the world that reveals itself to him, which opens itself through his body (subject-of-the-camera) to the spectator. We use the term staging (reenactment) to describe this relationship between the world (which includes objects and people in motion) and the subject which embodies the camera machine. Mise-en-scène denotes the way staging is set in the take, including the material aspects that comprise the scene and its future narrative arrangement (in shots). Looking at the history of documentary film, we can see two structural variants of action in the take to the subject-of-the-camera. We will call constructed stagingany action or expression that has been prepared by the cameraman beforehand. The free action occurring in front of a camera, without direct involvement or direction from the subject-of-the-camera, will be called direct staging. In the case of a close- up through direct staging the uncertainty of the action is the physiognomy in itself, which figures affect or affection. In Jogo de Cena, Coutinho uses a variety of staging techniques which are combined in a deconstructivist way. In Santiago, Salles contrasts two historical types of staging in a movement driven by remorse. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-07-25 |
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://rebeca.socine.org.br/1/article/view/8 10.22475/rebeca.v1n1.8 |
url |
https://rebeca.socine.org.br/1/article/view/8 |
identifier_str_mv |
10.22475/rebeca.v1n1.8 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://rebeca.socine.org.br/1/article/view/8/2 |
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 |
SOCINE - Sociedade Brasileira de Estudos de Cinema e Audiovisual |
publisher.none.fl_str_mv |
SOCINE - Sociedade Brasileira de Estudos de Cinema e Audiovisual |
dc.source.none.fl_str_mv |
REBECA - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 1 No. 1 (2012): REBECA 1 REBECA - Revista Brasileña de Estudios de Cine y Audiovisual; Vol. 1 Núm. 1 (2012): REBECA 1 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 1 n. 1 (2012): REBECA 1 2316-9230 reponame:Rebeca (São Paulo) instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) instacron:SOCINE |
instname_str |
Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) |
instacron_str |
SOCINE |
institution |
SOCINE |
reponame_str |
Rebeca (São Paulo) |
collection |
Rebeca (São Paulo) |
repository.name.fl_str_mv |
Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) |
repository.mail.fl_str_mv |
rebeca@socine.org.br |
_version_ |
1809730936221204481 |