Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous

Detalhes bibliográficos
Autor(a) principal: Eboli Nogueira, Pedro Caetano
Data de Publicação: 2024
Tipo de documento: Artigo
Idioma: por
Título da fonte: Rebeca (São Paulo)
Texto Completo: https://rebeca.socine.org.br/1/article/view/972
Resumo: This paper employs the method of equality to juxtapose the philosophical practices of Jacques Rancière with the documentary practices of Brazilian filmmaker Eduardo Coutinho. We observe a turning point, to some extent shared by both, which involved a break with the more common modes of political action within the left-wing field of the 1960s, leading them to engage in a politics involved in the elaboration  sensitive world of the anonymous. We emphasize how, after this reconfiguration of their political horizons, language assumes a central role in both the philosopher's and the filmmaker's trajectories. We analyze how the film Twenty Years Later (1984) represents a turning point in the filmmaker's trajectory. Next, we underline the temporal operations that govern the conception of the film Peões (2004) and their implications for the role played by the anonymous individuals interviewed on this occasion. We demonstrate how, for both of them, the political task lies in a process of disidentification. Finally, we elucidate the ways in which both Eduardo Coutinho and Jacques Rancière distance themselves from the pedagogical becoming of documentary images, where politics is not limited to the messages conveyed by the latter, but by the reframing they are capable of promoting.
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spelling Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous Eduardo Coutinho, Jacques Rancière y la elaboración del mundo sensible del anónimoEduardo Coutinho, Jacques Rancière e a elaboração do mundo sensível do anônimoEduardo CoutinhoJacques RancièreCinema políticoIdentidadesEduardo CoutinhoJacques RancièreCinema políticoIdentidadesEduardo CoutinhoJacques RancièrePolitical cinemaIdentitiesEduardo CoutinhoJacques RancièreCine políticoIdentidadesThis paper employs the method of equality to juxtapose the philosophical practices of Jacques Rancière with the documentary practices of Brazilian filmmaker Eduardo Coutinho. We observe a turning point, to some extent shared by both, which involved a break with the more common modes of political action within the left-wing field of the 1960s, leading them to engage in a politics involved in the elaboration  sensitive world of the anonymous. We emphasize how, after this reconfiguration of their political horizons, language assumes a central role in both the philosopher's and the filmmaker's trajectories. We analyze how the film Twenty Years Later (1984) represents a turning point in the filmmaker's trajectory. Next, we underline the temporal operations that govern the conception of the film Peões (2004) and their implications for the role played by the anonymous individuals interviewed on this occasion. We demonstrate how, for both of them, the political task lies in a process of disidentification. Finally, we elucidate the ways in which both Eduardo Coutinho and Jacques Rancière distance themselves from the pedagogical becoming of documentary images, where politics is not limited to the messages conveyed by the latter, but by the reframing they are capable of promoting.El presente artículo emplea el método de la igualdad para yuxtaponer las prácticas filosóficas de Jacques Rancière con las prácticas documentales del cineasta brasileño Eduardo Coutinho. Observamos un momento de inflexión, en cierta medida compartido por ambos, que implicó romper con los modos más frecuentes de actuación política en el campo de las izquierdas de la década de 1960 y los llevó a una política comprometida con la elaboración del mundo sensible de lo anónimo. Analizamos cómo la película "Cabra marcado para morir" (1984) representa un punto de inflexión en la trayectoria del cineasta. A continuación, subrayamos las operaciones temporales que rigen la concepción de la película "Peões" (2004) y sus implicaciones en el papel desempeñado por los anónimos entrevistados en esta ocasión. Destacamos como después de esta reformulación en los horizontes políticos de ambos, la palabra asume un papel central en la trayectoria del filósofo y del cineasta. Demostramos como en ambos casos, la tarea política radica en una desidentificación. Por último, elucidamos las formas en que tanto Eduardo Coutinho como Jacques Rancière se distancian del devenir pedagógico de las imágenes documentales, en las que la política no se limita a los mensajes que transmiten, sino a los reencuadres que son capaces de promover.O presente artigo emprega o método da igualdade para justapor as práticas filosóficas de Jacques Rancière às práticas documentais do cineasta brasileiro Eduardo Coutinho. Observamos o ponto de inflexão, até certo ponto partilhado por ambos, que implicou no rompimento com os modos mais frequentes de atuação política no campo das esquerdas dos anos 1960 e que os levou a uma política envolvida na elaboração do mundo sensível do anônimo. Destacamos de que modo, após essa reformulação nos horizontes políticos de ambos, a palavra assume um papel central na trajetória do filósofo e do cineasta. Analisamos de que maneira o longa Cabra marcado para morrer (1984) representa um momento de virada na trajetória de Coutinho. A seguir, sublinhamos as operações temporais que regem a concepção do longa Peões (2004), em suas implicações ao papel desempenhado pelos anônimos entrevistados nesta ocasião. Demonstramos de que modo, em ambos, a tarefa política reside em uma desidentificação. Por fim, elucidamos as maneiras pelas quais tanto Eduardo Coutinho quanto Jacques Rancière se distanciam do devir pedagógico das imagens documentais, em que a política não se resume às mensagens veiculadas por elas, mas pelos reenquadramentos que são capazes de promover.Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual2024-01-13info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionTextoTextoinfo:eu-repo/semantics/otherapplication/pdfhttps://rebeca.socine.org.br/1/article/view/97210.22475/rebeca.v12n2.972Rebeca - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 12 No. 2 (2023): Rebeca 24Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 Núm. 2 (2023): Rebeca 24Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 No 2 (2023): Rebeca 24Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 12 n. 2 (2023): Rebeca 242316-9230reponame:Rebeca (São Paulo)instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)instacron:SOCINEporhttps://rebeca.socine.org.br/1/article/view/972/573Copyright (c) 2023 Pedro Caetano Eboli Nogueirahttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessEboli Nogueira, Pedro Caetano2024-01-13T13:45:42Zoai:ojs.emnuvens.com.br:article/972Revistahttps://rebeca.socine.org.br/1ONGhttps://rebeca.socine.org.br/1/oairebeca@socine.org.br2316-92302316-9230opendoar:2024-01-13T13:45:42Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)false
dc.title.none.fl_str_mv Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
Eduardo Coutinho, Jacques Rancière y la elaboración del mundo sensible del anónimo
Eduardo Coutinho, Jacques Rancière e a elaboração do mundo sensível do anônimo
title Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
spellingShingle Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
Eboli Nogueira, Pedro Caetano
Eduardo Coutinho
Jacques Rancière
Cinema político
Identidades
Eduardo Coutinho
Jacques Rancière
Cinema político
Identidades
Eduardo Coutinho
Jacques Rancière
Political cinema
Identities
Eduardo Coutinho
Jacques Rancière
Cine político
Identidades
title_short Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
title_full Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
title_fullStr Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
title_full_unstemmed Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
title_sort Eduardo Coutinho, Jacques Rancière and the elaboration of the sensitive world of the anonymous
author Eboli Nogueira, Pedro Caetano
author_facet Eboli Nogueira, Pedro Caetano
author_role author
dc.contributor.author.fl_str_mv Eboli Nogueira, Pedro Caetano
dc.subject.por.fl_str_mv Eduardo Coutinho
Jacques Rancière
Cinema político
Identidades
Eduardo Coutinho
Jacques Rancière
Cinema político
Identidades
Eduardo Coutinho
Jacques Rancière
Political cinema
Identities
Eduardo Coutinho
Jacques Rancière
Cine político
Identidades
topic Eduardo Coutinho
Jacques Rancière
Cinema político
Identidades
Eduardo Coutinho
Jacques Rancière
Cinema político
Identidades
Eduardo Coutinho
Jacques Rancière
Political cinema
Identities
Eduardo Coutinho
Jacques Rancière
Cine político
Identidades
description This paper employs the method of equality to juxtapose the philosophical practices of Jacques Rancière with the documentary practices of Brazilian filmmaker Eduardo Coutinho. We observe a turning point, to some extent shared by both, which involved a break with the more common modes of political action within the left-wing field of the 1960s, leading them to engage in a politics involved in the elaboration  sensitive world of the anonymous. We emphasize how, after this reconfiguration of their political horizons, language assumes a central role in both the philosopher's and the filmmaker's trajectories. We analyze how the film Twenty Years Later (1984) represents a turning point in the filmmaker's trajectory. Next, we underline the temporal operations that govern the conception of the film Peões (2004) and their implications for the role played by the anonymous individuals interviewed on this occasion. We demonstrate how, for both of them, the political task lies in a process of disidentification. Finally, we elucidate the ways in which both Eduardo Coutinho and Jacques Rancière distance themselves from the pedagogical becoming of documentary images, where politics is not limited to the messages conveyed by the latter, but by the reframing they are capable of promoting.
publishDate 2024
dc.date.none.fl_str_mv 2024-01-13
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Texto
Texto
info:eu-repo/semantics/other
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://rebeca.socine.org.br/1/article/view/972
10.22475/rebeca.v12n2.972
url https://rebeca.socine.org.br/1/article/view/972
identifier_str_mv 10.22475/rebeca.v12n2.972
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://rebeca.socine.org.br/1/article/view/972/573
dc.rights.driver.fl_str_mv Copyright (c) 2023 Pedro Caetano Eboli Nogueira
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2023 Pedro Caetano Eboli Nogueira
http://creativecommons.org/licenses/by/4.0
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. 12 No. 2 (2023): Rebeca 24
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 Núm. 2 (2023): Rebeca 24
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 12 No 2 (2023): Rebeca 24
Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 12 n. 2 (2023): Rebeca 24
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
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