Docentes

Critério de Avaliação

A participação nos debates mencionado no item anterior é imprescindível e será um dos critérios de avaliação. Além disso, todos os participantes deverão entregar, no final do semestre, um ensaio de 20 páginas para os doutorandos e de 15 páginas para os mestrandos, cujo tema deverá ser obrigatoriamente relacionado à proposta do curso. Tal texto deverá ser estruturado na forma de um artigo suscetível de ser publicado e deverá ser redigido em Times New Roman, tamanho 12, espaço de 1.5 e apresentado em papel Carta. As duas últimas sessões do semestre serão dedicadas à apresentação individual de seminários. Todos(as) deverão fazer uma apresentação oral de 15 minutos sobre um tema previamente estabelecido em sala de aula. É facultada a utilização de material audiovisual como parte da apresentação desde que sua exibição não ultrapasse ¼ do tempo total.

Bibliografia

Os textos marcados com um asterisco ( * ) indicam as leituras consideradas mais significativas para a aula em questão e aqueles marcados com uma cruz (+) deverão ter sido consultados previamente ao início das aulas. A bibliografia referente a cada sessão encontra-se no programa das mesmas no item "Conteúdo Programático".

Conteúdo

Programa 1ª Sessão: Apresentação 2ª Sessão: Origens do filme documentário Filmes Irmãos Lumiére, Méliès, Marey Leituras * Emilie de Brigard, The History of ethnographic film, in: Paul Hockings (Ed.), Principles of Visual Anthropology, Berlin, New York: Mouton de Gruyter, 1995, pp. 13-43. +Silvio Da-Rin, "Espelho Partido. Tradição e transformação do documentário", Rio de Janeiro: Azougue Editorial, 2004. *Leslie Devereaux, Cultures, Disciplines, Cinemas, in: Leslie Devereaux & Roger Hillman (Eds.), "Fields of Vision. Essays in Film Studies, Visual Anthropology and Photography", Berkeley: University of California Press, 1995, pp. 329-339. Karl G. Heider, "Ethnographic Film", Austin: University of Texas Press, 1994. Heusch, Luc de, "Cinéma et Sciences Sociales", Paris: Unesco, 1962. Frederic Jameson, "As Marcas do Visível", Rio de Janeiro: Graal, 1995. Pierre-L. Jordan, "Premier Contact-Premier Regard", Marseille: Musées de Marseille. Images en Manoeuvres Editions, 1992. André Leroi-Gourhan, 1948 - Cinéma et Sciences Humaines. Le Film Ethnologique Existe-t-il?, in: "Revue de Géographie Humaine et d’Ethnologie", n. 3, Paris, pp. 42-50. *David Mac Dougall, Whose Story Is It?, - in: Peter I. Crawford &, Jan K. Simonsen (Eds.), "Ethnographic Film Aesthetics and Narrative Traditions". Aarhus, Intervention Press, 1992, pp. 25-42. George Sadoul, "Histoire Générale du Cinéma. Vol. 1, L’Invention du Cinéma 1832-1897", Paris: Denöel, 1977, pp. 73-110. * Pierre Sorlin, "Sociologie du Cinéma", Paris: Aubier Montaigne, 1977, pp. 7-74. Charles Warren, Introduction, with a Brief History of Nonfiction Film, in: Charles Warren (Ed.), "Beyond Document. Essays on Nonfiction Film", Hanover and London: Wesleyan University Press, 1996, pp. 1-22. Ismail Xavier, Cinema: Revelação e Engano, in: Adauto Novaes (Ed.) "O Olhar", São Paulo: Companhia das Letras, 1993, pp. 367-384. 3ª Sessão: Delimitando fronteiras. Documentário ou ficção? Filme Jaguar (Jean Rouch, 1967, 91 min.) Leituras +Erik Barnow, "Documentary. A History of the Non-Fiction Film", Oxford/New York: Oxford University Press, 1993. *Noël Carroll, Nonfiction Film and Postmodernist Skepticism, in: David Bordwell & Noël Carroll, "Post-Theory. Reconstructing Film Studies", Madison: The University of Wisconsin Press, 1996, pp. 283-306. James Clifford & Gregory E. Marcus (Eds.) "Writing Culture", Berkeley (University of California Press), 1986. *Jean-André Fieschi, Dérives de la Fiction: Notes sur le Cinéma de Jean Rouch, in: Dominique Noguez (Ed.), "Cinéma: Théorie, Lectures", Paris: Klincksiek, Numéro Spécial de la Revue d’Esthétique, 1978, pp. 255-264. Bill Nichols, "Blurred Boundaries. Questions of Meaning in Contemporary Culture". Bloomington and Indiana: Indiana University Press, 1994. *Carl Plantinga, Moving Pictures and the Rhetoric of Nonfiction Film, In: David Bordwell & Noël Carroll, "Post-Theory. Reconstructing Film Studies", Madison: The University of Wisconsin Press, 1996, pp. 307-324. Phillip Lopate, In Search of the Centaur: The Essay-Film, in: Charles Warren (Ed.), "Beyond Document. Essays on Nonfiction Film", Hanover and London: Wesleyan University Press, 1996, pp. 271-294. *Michael Renov, Re-thinking Documentary, in: "Wide Angle", Vol.8, nº 3/4, 1986, pp.71-77. 4ª Sessão: Realidade, representação e apropriação. Filmes Trobriand Cricket: An Ingenious Response to Colonialism (Jerry Leach, 1976, 54 min). Les Maîtres Fous. (Jean Rouch, 1954, 36 min.) Leituras Erwing Goffman, "La Mise en Scène de la Vie Quotidienne, Vol. 2, Les relations en Public”, Paris: Les Editions de Minuit, pp. 181-226. *Felicia Hughes-Freeland, Representation by the Other: Indonesian Cultural Documentation, in: "Film as Ethnography", Peter Crawford and David Turton (Eds), Manchester: Manchester University Press, 1992, p. 242-256. *Jerry W. Leach, Structure and Message in Trobriand Cricket, in: Jack R. Rollwagen (Ed.), "Anthropological Filmaking", Chur/Switzerland, Harwood Academic Press, 1988, pp. 237-51. G. Roy Levin, "Documentary Explorations. 15 Interviews with Filmmakers", Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, PP. 131-146. Bill Nichols, "Ideology and the Image: Social Representation in the Cinema and Other Media", Bloomington: Indiana University Press, 1981, p. 170-207. *Martin Roberts, The self in the other: Ethnographic Film, Surrealism, Politics, in:"Visual Anthropology", 8, n. 1 (1996), p. 79-94. *Annete B. Weiner, Trobriand Cricket: An Ingenious Response to Colonialism, in: "American Anthropologist", 79, n. 2 (1977): 506-07. *____ Trobrianders on Camera and Off: The film that did not get made, in: "Visual Anthropology Review" 8, n. 1 (1992): 103-06. 5ª Sessão: A reconstrução do outro Filmes Nanook of the north (Robert Flaherty, 1922, 55 min.) Netsilik Eskimos (Asen Balikci, 1965, 48 min.) Leituras *Asen Balikci, Reconstructing Cultures on Film, in: Paul Hockings (Ed.), "Principles of Visual Anthropology", Berlin, New York: Mouton de Gruyter, 1995, pp.181-191. Richard Barsan, "The Vision of Robert Flaherty", Bloomington and Indiana: Indiana University Press, 1988. *Gianfranco Bettetini, Nanook of the North. Analyse de Deux Séquences, in: "Cinéma et Réalités", Saint-Étienne: Université de Saint-Étienne, 1984, pp. 125-154. Ricciotto Canudo, Another View of Nanook, in: Lewis Jacobs, "The Documentary tradition", New York: W.W. Norton & Company, pp. 97-99. Edmund Carpenter, If Wittgenstein had been an Eskimo, in: "Natural History", 89, n. 2 (1980), pp. 72-77. *Robert Flaherty, Filming Real People, in: Lewis Jacobs, "The Documentary Tradition", New York: W.W. Norton & Company, pp. 97-99. *Claudine de France, "Cinema e Antropologia", Campinas: Editora da Unicamp, 1998, pp. 7-52. David MacDougall, Whose Story is it?, in: Peter I. Crawford & Jan K. Simonsen, "Ethnographic Film. Aesthetics and Narrative Traditions", Aarhus: Intervention Press, 1992, pp.25-42. *William Rothman, "Documentary Film Classics", Cambridge, Cambridge University Press, 1997, pp. 1-20. Fatimah Tobing Rony, "The Third Eye. Race, Cinema and Ethnographic Spectacle", Durhan and London, Duke University Press, 1996, pp. 99-127. *Robert Sherwood, Robert Flaherty’s ‘Nanook of the north’, in: Lewis Jacobs, "The Documentary Tradition", New York: W.W. Norton & Company 1971, pp. 15-19. 6ª Sessão: A câmera ao revés ou a reflexividade no documentário Filmes Da série “The Navajo film themselves”, Sol Worh & John Adair: Intrepid Shadows (Al Clah, 18 min.) Spirit of Navaho (Maxine e Maryjane Tsosie, 21 min.) Filmes do CTI Leituras *Jeanne Allen, Self-reflexivity in Documentary, in: "Ciné-Tracts", Vol. 1, nº 2, 1077, pp. 37-43. Eric Barnow, "Documentary. A History of the Non-Fiction Film", Oxford/New York: Oxford University Press, 1993. *John Bishop, Video self: !Kung and Khmer, in: Robert M. Boonzajer Flaes & Douglas Harper (Eds.), "Eyes Across the Water", Amsterdam: Het Spinhuis, 1993, pp. 31-36. James C. Faris, Anthropological Transparency: Film, Representation and Politics, in: Peter Crawford & David Turton (Eds.), "Film as Ethnography", Manchester: Manchester University Press, 1992, pp. 171-182. Claudine de France, "Cinema e Antropologia", Campinas: Editora da Unicamp, 1998. *Dominique T. Galois & Vincent Carelli, Video in the Villages: The Waiãpi Experience, in: Hans H. Philipsen & Birgitte Markussen (Eds.), "Advocacy and Indigenous Film-making", Aarhus: Intervention Press. Nordic Papers in Critical Anthropology, n°. 1, 1995, pp. 23-39. *Faye Ginsburg, “The Parallax Effect: The Impact of Indigenous Media on Ethnographic Film”, in: Jane Gaines & Michel Renov (Eds.), "Collecting Visible Evidence", Minneapolis: University of Minnesota Press, 1999, pp. 156-189. Hans H. Philipsen & Birgitte Markussen (Eds.), Advocacy and Indigenous Film-making, Aarhus: Intervention Press. "Nordic Papers in Critical Anthropology", n°. 1, 1995. *Michel Renov, Domestic Ethnography and the Construction of the ‘Other’ Self', in: Jane M. Gaines & Michael Renov (Eds.), "Collecting Visible Evidence", Minneapolis, University of Minnesota Press, 1999, pp.140-155. James F. Weiner, Televisualist anthropology, in: "Current Anthropology", 38, n. 2, April 1977, pp. 197-235. *Sol Worth & John Adair, "Through Navajo eyes: An exploration in film communication and anthropology", Bloomington: Indiana University Press, 1974. 7 ª Sessão: Uma outra estética para mostrar o outro Filmes Reassemblage (Trinh T. Minh-há, 1982, 40 min.) Tereza (Kiko Goifmann, 1987, 30 min). Trechos: Ilha das flores (Jorge Furtado, 1979) Leituras *Trinh T. Minh-ha, The Totalizing Quest for Mining, in: Michael Renov (Ed.), "Theorizing Documentary", New York, Routledge, 1993, pp. 90-107. *_____ Outside In Inside Out, in: Jim Pines & Paul Willemen, "Question of Third Cinema”, London: British Film Institute Publishing, 1994, pp.133-149. Nancy N. Chen, ’Speaking Nearby:’ A Conversation with Trin T. Minh-ha, in: "Visual Anthropology Review", 8, n. 1 (1992); 82-91. *Tord Larsen, The Aesthetic Turn, in: Peter I. Crawford, &, Jan K. Simonsen, (Eds.), "Ethnographic Film Aesthetics and Narrative Traditions". Aarhus, Intervention Press, 1992, pp.17-24. *Michel Renov, Toward a Poetics of Documentary, in: Michael Renov (Ed.), "Theorizing Documentary", New York, Routledge, 1993, pp. 12-36. William Rothman, "Documentary Film Classics", Cambridge, Cambridge University Press, 1997. 8ª Sessão: O observador ausente ou “a mosca na parede” Filmes Crisis. Behind a presidential commitment (Robert Drew, 1963, 53 min.) Leituras *Erik Barnow, "Documentary. A History of the Non-Fiction Film", Oxford/New York: Oxford University Press, 1993. *Richard M. Barsan, American Direct Cinema: The Re-presentation of Reality, in: Persistence of Vision", Vol. 3, nº 3/4, summer 1986, pp. 131-157. *James Blue, One Man’s Truth – An Interview with Richard Leacock, in: Lewis Jacobs (Ed), "The Documentary Tradition", New York: W.W. Norton & Company 1971, pp. 406-419. Barry Keith Grant, "Voyages of Discovery. The Cinema of Frederick Wiseman", Chicago, University of Illinois Press, 1992. Lewis Jacobs, Documentary Becomes Engaged and Vérité, in: Lewis Jacobs (Ed), "The Documentary Tradition", New York: W.W. Norton & Company 1971, pp. 368-380. *G. Roy Levin, "Documentary Explorations. 15 Interviews with Filmmakers", Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, pp. 173-329. Louis Marcorelles, "Living Cinema. New Directions in Contemporary Film-making", New York, Washington: Praeger Publishers, 1973. Michel Marie, Le Direct et la Parole, in: "Cinéma et Réalités", Saint-Étienne: Université de Saint-Étienne, 1984, pp. 47-58. Stephen Mamber, "Cinema Vérité in America: Studies in Uncontrolled Documentary", Cambridge: MIT Press, 1974. *Gilles Marsolais, "L’Aventure du Cinéma Direct", Paris: Seghers, 1974, pp. 1-85. Bill Nichols, "Representing Reality. Issues and Concepts in Documentary". Bloomington and Indianapolis: Indiana University Press, 1991. *_____ Frederick Wiseman’s Documentaries: Theory and Structure, in: "Ideology and the Image", Bloomington:Indiana University Press, 1981, pp.208-236. William Rothman, "Documentary Film Classics", Cambridge: Cambridge University Press, 1997, pp. 109-210. 9ª Sessão: O observado fabricado ou a “mosca na sopa”. Filme Chronique d’un été (Jean Rouch & Edgar Morin, 1960, 90 min.) Leituras Barry Dornfeld, Chronicle of a Summer and the Editing of Cinéma-Vérité, in: "Visual Anthropology", Vol. 2, pp. 317-331. *Ellen Freyer, Chronicle of a Summer-Ten Years After, in: Lewis Jacobs (Ed), "The Documentary Tradition", New York: W.W. Norton & Company 1971, pp. 437-443. *Lewis Jacobs, Documentary Becomes Engaged and Vérité, in: Lewis Jacobs (Ed), "The Documentary Tradition", New York: W.W. Norton & Company 1971, pp. 368-380. G. Roy Levin, "Documentary Explorations. 15 Interviews with Filmmakers", Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, pp. 131-146. Louis Marcorelles, "Living Cinema. New Directions in Contemporary Film-Making", New York, Washington: Praeger Publishers, 1973. Gilles Marsolais, "L’Aventure du Cinéma Direct", Paris: Seghers, 1974, pp. 1-85. *"Studies in visual communication", 'Chronicle of a Summer', numero especial: 11 (1), winter 1985. *Hamid Naficy, Jean Rouch: A Personal Perspective, in: "Quartely Review of Film Studies", Summer 1979, pp. 339-362. William Rothman, "Documentary Film Classics", Cambridge, Cambridge University Press, 1997, pp. 69-108. 10ª Sessão: Observação ou voyeurismo? Filme Titicut Follies (Frederick Wiseman, 1967, 83 min.) Leituras *Thomas R. Atkins, Frederick Wiseman’s America: Titicut Follies to Primate, in: Lewis Jacobs, "The Documentary Tradition" , New York: W.W. Norton & Company 1971, pp. 536-550. *G. Roy Levin, "Documentary Explorations. 15 Interviews with Filmmakers", Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, pp. 313-328. Stephen Mamber, "Cinema Vérité in America: Studies in Uncontrolled Documentary", Cambridge: MIT Press, 1974. Barry Keith Grant, "Voyages of Discovery. The Cinema of Frederick Wiseman", Chicago: University of Illinois Press, 1992. *Richard Schickel, Sorriest Spectacle – The Titicut Follies, in: Lewis Jacobs, "The Documentary Tradition", New York: W.W. Norton & Company 1971, pp. 459-461. 11ª Sessão: Cinema e história. Inter-relações Filme Jud Süss, (Veit Harlan, 1940) Leituras *"American Historical Review", Vol. 93, nº 5, December 1988, pp. 1173-1227. *Peter Burke, A Escrita da História. Novas Perspectivas. São Paulo: Editora da Unesp, 1992, pp. 7-37. ____ "A Escola dos Annales", 1929-1989, São Paulo, Editora da Unesp, 1998. *Jean-Claude Bernadet & Alcides Freire Ramos, "Cinema e História do Brasil", São Paulo: Editora da Universidade de São Paulo, 1988. "Cinémaction". 'Cinéma et Histoire. Autour de Marc Ferro', nº 65, 1992, Paris: Marc Ferro (Ed), Film et Histoire, Paris: Editions de L’EHESS, 1984. *______ "Cinema e História", Rio de Janeiro: Paz e Terra, 1992. Leger Grindon, Shadows of the Past. "Studies in the Historical Fiction Film", Philadelphia: Temple University Press, 1994. Anton Kaes," From Hitler to Heimat. The Return of History as Film". Cambridge: Harvard University Press, 1989. John E. O’Connor & Martin A. Jackson, "American History/American Film. Interpreting the Hollywood Image", New York: The Continuum Publishing Company, 1979. Robert A. Rosenstone, "Visions of the Past. The Challenge of Film to our Idea of History", Cambridge: Harvard University Press, 1995. *Pierre Sorlin, "Sociologie du Cinéma", Paris: Aubier Montaigne, 1977. Paul Virilio, "Guerra e Cinema", São Paulo: Editora Página Aberta Ltda. 1993. 12ª Sessão: A serviço do estado? Grierson e o documentário Inglês Filmes Drifters (John Grierson, 1929, 49 min.) Night Mail (Harry Watt and Basil Wright, 1936, 25 min.) Leituras *Jack C. Ellis, Changing of the Guard. From the Grierson Documentary to Free Cinema, in: "Quartely Review of Film Studies", winter 1982, pp. 23-35. Forsyth Hardy (Ed.) "Grierson on Documentary", London: Faber & Faber, 1979. Richard Dyer MacCann, Documentary in the 1930s, in: "Quartely Review of Film Studies", winter 1982, pp. 79-85. Paul Rotha, "Documentary Diary. An Informal History of the British Documentary Film", 1928-1939, New York: Hill and Wang, 1973. *Sari Thomas, Basil Wright on Art, Anthropology and the Documentary, in: "Quartely Review of Film Studies", fall 1979, pp. 465-481. 13ª Sessão: Agitprop celulóide Filme A Batalha do Chile Parte 1, (Patricio Gusmán, 1976, 95 min.) Leituras: Julianne Burton (Ed.), "The Social Documentary in Latin America", Pittsburgh: Latin America Series, 1990. Marco Carynnky (Ed.), "Alexander Dovshenko: The Poet as Filmmaker. Selected Writings", Cambridge, The MIT Press, 1973. *Jane Gaines, Political Mimesis, in: Jane Gaines & Michel Renov (Eds.), "Collecting Visible Evidence", Minneapolis: University of Minnesota Press, 1999, pp. 84-102. Vance Kepley Jr., "In the Service of the State. The cinema of Alexander Dovzhenk", Madison: The University of Wisconsin Press, 1986. Anette Michelson, L’Homme à la Caméra: de la Magie à l’Épistémologie, in: Dominique Noguez (Ed.),"Cinéma: Théorie, Lectures", Paris: Klincksiek, Numéro Spécial de la Revue d’Esthétique, 1978, pp. 295-310. *Paulo Antonio Paranaguá, "O Cinema na América Latina", Porto Alegre: L & PM, 1985. Vlada Petric, Vertov’s Cinematic Transposition of Reality, in: Charles Warren (Ed.), "Beyond Document. Essays on Nonfiction Film", Hanover and London: Wesleyan University Press, 1996, pp. 271-294. George Sadoul, "Dziga Vertov", Paris: Editions Champ Livre, 1971. *Dziga Vertov, Articles, Journaux, Projets, Paris: Union Générale d’Editions, 1972. *Amos Vogel, Le Cinéma art Subversif, Paris: Buchet/Chastel, 1977. 14ª Sessão: Cinema e política Filme Cabra Marcado para Morrer (Eduardo Coutinho, 1984, 120 min.) Leituras *José Carlos Avelar, Seeing, Hearing, Filming: Notes on the Brazilian Documentary, in: Randal Johnson & Robert Stam (Eds.), "Brazilian Cinema", Austin: University of Texas Press, 1982, pp. 328-339. *Jean-Claude Bernardet, "Cineastas e Imagens do Povo, São Paulo: Cia. das Letras, 2003. *____ Le Documentaire, in: "Le Cinéma Brésilien", Paris: Centre George Pompidou, 1987, pp. 165-178. *Julianne Burton (Ed.) "The Social Documentary in Latin America", Pittsburgh: Latin America Series, 1990. Bell Hooks, "Reel to Real. Race, Sex and Class at the movies", New York: Routledge, 1996. *Consuelo Lins, O Documentário de Eduardo Coutinho, Rio de Janeiro: Jose Zahar Editor, 2004. *Ana M. López, (Not) Looking for Origins: Postmodernism, Documentary, and America, in: Michael Renov (Ed.), "Theorizing Documentary", New York, Routledge, 1993, pp. 151-163. *Carlos Alberto Mattos," Eduardo Coutinho. O homem que caiu na real", Santa Maria da Feira: Festival de Cinema Luso-Brasileiro, 2003. Paulo Antonio Paranaguá, "O Cinema na América Latina", Porto Alegre: L & PM, 1985. Amos Vogel, "Le Cinéma art Subversif", Paris: Buchet/Chastel, 1977. Christian Zimmer, "Cinéma et Politique", Paris, Éditions Seghers, 1974. 15ª Sessão: Apresentação de seminários

Metodologia

O curso será fundamentado em leituras que deverão ser efetuadas semanalmente, na projeção de filmes diretamente vinculados ao tema tratado e na discussão a partir dos assuntos abordados nos dois itens anteriores.

Observação