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 A-4. 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

A bibliografia a ser utilizada na disciplina consta do conteúdo programático de cada sessão deste último.

Conteúdo

Os textos marcados com um asterisco (*) indicam as leituras consideradas mais significativas para a aula em questão, e aqueles marcados com uma cruz (+) são referência para todas as sessões e deverão ter sido consultados previamente ao início das aulas. Programa 1ª Sessão, Apresentação – 15/03 2ª Sessão, Origens do cinema, origens das ciências humanas – 22/03 Filmes Irmãos Lumiére, Méliès, Marey Leituras +Barnow, Erik Documentary. A History of the Non-Fiction Film, Oxford/New York: Oxford University Press, 1993. *Brigard, Emilie de, “The History of ethnographic film”, in: Paul Hockings (Ed.), Principles of Visual Anthropology, Berlin: New York: Mouton de Gruyter, 1995, pp. 13-43. *Devereaux, Leslie, “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. *+Dortier, Jean-François, Uma história das ciências humanas¸ Lisboa: Edições Texto & Grafia, 2009, pp. 11-94. +Heusch, Luc de, Cinéma et Sciences Sociales, Paris: Unesco, 1962. Jordan, Pierre-L., Premier Contact-Premier Regard, Marseille: Musées de Marseille. Images en Manoeuvres Editions, 1992. *+Foucault, Michel. As palavras e as coisas. Uma arqueologia das ciências humanas. 6a. ed. São Paulo: Martins Fontes, 1992, pp. pp. 361-404. +Hollier, Denis. (org.). Panorama des Sciences Humaines. Introdução. Paris, NRF (col. Le point du jour), 1973. *Mac Dougall, David, “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. +Nichols, Bill, Introdução ao documentário, Campinas: Papirus, 2005. +Ramos, Fernão Pessoa, Mas afinal, o que é mesmo documentário?, São Paulo: Editora do Senac, 2008. +Sadoul, George, Histoire Générale du Cinéma. Vol. 1, L’Invention du Cinéma 1832-1897, Paris: Denöel, 1977, pp. 73-110. *Sorlin, Pierre, Sociologie du Cinéma, Paris: Aubier Montaigne, 1977, pp. 7-74. +Teixeira, Francisco Elinaldo (Org), Documentário no Brasil: tradição e transformação, São Paulo: Summus, 2004. +Vanoye, Francis & Goliot-Lété, Anne, Ensaio sobre a análise fílmica, Campinas: Papirus, 1994. *+Xavier, Ismail, “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? – 29/03 Filme Jaguar (Jean Rouch, 1967, 91 min.) Leituras *Carroll, Noël, “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. Clifford, James & Marcus, Gregory E. (Eds.) Writing Culture: The poetics and politics of ethnography, Berkeley: University of California Press, 1986. *Fieschi, Jean-André, “Derivas da ficção: notas sobre o cinema de Jean Rouch”, in: Mateus Araújo Silva (Org.), Jean Rouch 2009. Retrospectivas e colóquios no Brasil, Belo Horizonte : Balafon, 2010, pp. 19-35. Nichols, Bill, Blurred Boundaries. Questions of Meaning in Contemporary Culture. Bloomington and Indiana: Indiana University Press, 1994. *Plantinga, Carl, “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. Lopate Phillip, “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. * Renov, Michael, “Re-thinking Documentary”, in: Wide Angle, Vol. 8, nº 3/4, 1986, pp.71-77. *Warren, Charles, “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. 4ª Sessão, Realidade, representação e apropriação. – 05/04 Filmes Trobriand Cricket: An Ingenious Response to Colonialism (Jerry Leach, 1976, 54 min). Les Maîtres Fous. (Jean Rouch, 1954, 36 min.) Leituras Goffman, Erwing, La Mise en Scène de la Vie Quotidienne, Vol. 2, “Les relations en Public”, Paris: Les Editions de Minuit, pp. 181-226. *Hughes-Freeland, Felicia, “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. *Leach, Jerry W., “Structure and Message in Trobriand Cricket”, in” Jack R. Rollwagen (Ed.), Anthropological Filmaking, Chur/Switzerland: Harwood Academic Press, 1988, pp. 237-51. Levin, G. Roy, Documentary Explorations. 15 Interviews with Filmmakers, Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, PP. 131-146. Nichols, Bill, Ideology and the Image: Social Representation in the Cinema and Other Media, Bloomington: Indiana University Press, 1981, p. 170-207. *Roberts, Martin, “The self in the other: Ethnographic Film, Surrealism, Politics”, in: Visual Anthropology, 8, n. 1 (1996), p. 79-94. *Weiner, Annete B., “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. – 12/04 Filmes Nanook of the north (Robert Flaherty, 1922, 55 min.) Netsilik Eskimos (Asen Balikci, 1965, 48 min.) Leituras *Balikci, Asen, “Reconstructing Cultures on Film”, in: Paul Hockings (Ed.), Principles of Visual Anthropology, Berlin, New York: Mouton de Gruyter, 1995, pp.181-191. Barsan, Richard, The Vision of Robert Flaherty, Bloomington and Indiana: Indiana University Press, 1988. *Bettetini, Gianfranco, “Nanook of the North. Analyse de Deux Séquences”, in: Cinéma et Réalités, Saint-Étienne: Université de Saint-Étienne, 1984, pp. 125-154. Canudo, Ricciotto, “Another View of Nanook”, in: Lewis Jacobs, The Documentary tradition, New York: W.W. Norton & Company, pp. 97-99. Carpenter, Edmund, “If Wittgenstein had been an Eskimo”, in: Natural History, 89, n. 2 (1980), pp. 72-77. *Flaherty, Robert, “Filming Real People”, in: Lewis Jacobs, The Documentary Tradition, New York: W.W. Norton & Company, pp. 97-99. *France, Claudine de, Cinema e Antropologia, Campinas: Editora da Unicamp, 1998, pp. 7-52. MacDougall, David, “Whose Story is it?”, in: Peter I. Crawford & Jan K. Simonsen, Ethnographic Film. Aesthetics and Narrative Traditions, Aarhus: Intervention Press, 1992, pp.25-42. *Rothman, William, Documentary Film Classics, Cambridge, Cambridge University Press, 1997, pp. 1-20. Rony, Fatimah Tobing, The Third Eye. Race, Cinema and Ethnographic Spectacle, Durhan and London, Duke University Press, 1996, pp. 99-127. *Sherwood, Robert, “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, Uma outra estética para mostrar o outro. 19/04 Filmes Reassemblage (Trinh T. Minh-há, 1982, 40 min.) Tereza (Kiko Goifmann, 1987, 30 min). Leituras *Minh-ha, Trinh T., “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. Chen, Nancy N., “’Speaking Nearby:’ A Conversation with Trin T. Minh-ha”, in: Visual Anthropology Review, 8, n. 1 (1992); 82-91 *Larsen, Tord, “The Aesthetic Turn”, in: Peter I. Crawford, &, Jan K. Simonsen, (Eds.), Ethnographic Film Aesthetics and Narrative Traditions. Aarhus: Intervention Press, 1992, pp.17-24. *Renov, Michel, “Toward a Poetics of Documentary”, in: Michael Renov (Ed.), Theorizing Documentary, New York: Routledge, 1993, pp. 12-36. Rothman, William, Documentary Film Classics, Cambridge: Cambridge University Press, 1997. 7ª Sessão, O observador ausente ou “a mosca na parede”. 26/04 Filmes Crisis: Behind a Presidential Commitment (Robert Drew, 1963). Leituras Barnow, Erik, Documentary. A History of the Non-Fiction Film, Oxford/New York: Oxford University Press, 1993. *Barsan, Richard M., “American Direct Cinema: The Re-presentation of Reality”, in: Persistence of Vision, Vol. 3, nº 3/4, summer 1986, pp. 131-157. *Blue, James, “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. Grant, Barry Keith, Voyages of Discovery. The Cinema of Frederick Wiseman, Chicago: University of Illinois Press, 1992. Jacobs, Lewis, “Documentary Becomes Engaged and Vérité”, in: Lewis Jacobs (Ed), The Documentary Tradition, New York: W.W. Norton & Company 1971, pp. 368-380. *Levin, G. Roy, Documentary Explorations. 15 Interviews with Filmmakers, Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, pp. 173-329. Marcorelles, Louis, Living Cinema. New Directions in Contemporary Film-making, New York, Washington: Praeger Publishers, 1973. Marie, Michel, “Le Direct et la Parole”, in: Cinéma et Réalités, Saint-Étienne: Université de Saint-Étienne, 1984, pp. 47-58. Mamber, Stephen, Cinema Vérité in America: Studies in Uncontrolled Documentary, Cambridge: MIT Press, 1974. *Marsolais, Gilles, L’Aventure du Cinéma Direct, Paris: Seghers, 1974, pp. 1-85. Nichols, Bill, Representing Reality. Issues and Concepts in Documentary. Bloomington and Indianapolis: Indiana University Press, 1991. Rothman, William, Documentary Film Classics, Cambridge: Cambridge University Press, 1997, pp. 109-210. 8ª Sessão, O observado fabricado ou a “mosca na sopa”. 03/05 Filme Chronique d’un été (Jean Rouch & Edgar Morin, 1960, 90 min.) Leituras Dornfeld, Barry, “Chronicle of a Summer and the Editing of Cinéma-Vérité”, in: Visual Anthropology, Vol. 2, pp. 317-331. *Freyer, Ellen, “Chronicle of a Summer-Ten Years After”, in: Lewis Jacobs (Ed), The Documentary Tradition, New York: W.W. Norton & Company 1971, pp. 437-443. *Jacobs, Lewis, “Documentary Becomes Engaged and Vérité”, in: Lewis Jacobs (Ed), The Documentary Tradition, New York: W.W. Norton & Company 1971, pp. 368-380. Levin, G. Roy, Documentary Explorations. 15 Interviews with Filmmakers, Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, pp. 131-146. Marcorelles, Louis, Living Cinema. New Directions in Contemporary Film-Making, New York, Washington: Praeger Publishers, 1973. Marsolais, Gilles, L’Aventure du Cinéma Direct, Paris: Seghers, 1974, pp. 1-85. *Studies in visual communication, “Chronicle of a summer”, special edition: 11 (1), winter 1985. *Naficy, Hamid, “Jean Rouch: A Personal Perspective”, in: Quarterly Review of Film Studies, summer 1979, pp. 339-362. Rothman, William, Documentary Film Classics, Cambridge: Cambridge University Press, 1997, pp. 69-108. 9ª Sessão, A estética contra a ética? - 10/05 Filme Titicut Follies (Frederick Wiseman, 1967, 83 min.) Leituras *Atkins, Thomas R., “Frederick Wiseman’s America: Titicut Follies to Primate”, in: Lewis Jacobs, The Documentary Tradition, New York: W.W. Norton & Company 1971, pp. 536-550. *Freire, Marcius, “A estética contra a ética”, in: Beatriz Furtado (Org.), Imagem contemporânea, São Paulo: Editora Hedra, 2009, pp. 191-214. Grant, Barry Keith, Voyages of Discovery. The Cinema of Frederick Wiseman, Chicago: University of Illinois Press, 1992. *Levin, G. Roy, Documentary Explorations. 15 Interviews with Filmmakers, Garden City, NY: Anchor Press-Doubleday & Company, Inc., 1971, pp. 313-328. Mamber, Stephen, Cinema Vérité in America: Studies in Uncontrolled Documentary, Cambridge: MIT Press, 1974. *Nichols, Bill, “Frederick Wiseman’s Documentaries: Theory and Structure”, in: Ideology and the Image, Bloomington: Indiana University Press, 1981, pp.208-236. *Schickel, Richard, “Sorriest Spectacle – The Titicut Follies”, in: Lewis Jacobs, The Documentary Tradition, New York: W.W. Norton & Company 1971, pp. 459-461. 10ª Sessão, Documentário e processos de aprendizagem -17/04 Filmes Corações e Mentes (Peter Davis, 1974, 112 min.) Leituras James, David E., “Documenting the Vietnam War”, in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 239-254. Renov, Michael, “Imaging the Other: Representations of Vietnam in Sixties Political Documentary” in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 255-268. *Grosser, David, “‘We Aren’t on the Wrong Side, We Are the Wrong Side’: Peter Davis Targets (American) Hearts and Minds”, in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 269-282. Dornfeld, Barry, “Dear America: Transparency, Authority, and Interpretation in a Vietnam War Documentary”. in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 283-298. *Akhras, Fábio N., “Uma Perspectiva Teórica para o Documentário como Cinema de Aprendizado”, in: Doc On-Line – Revista Digital de Cinema Documentário, Vol. 9, 2010, pp. 108-124. Disponível em: . *Resnick, Lauren. B., “Situated rationalism: the biological and cultural foundations for learning”. in Prospects, Vol. XXVI, nº 1, 1996, pp. 37-53. Disponível em: . Simons, P. R. J., “Constructive learning: the role of the learner”, in: Duffy, T. M., Lowyck, J. and Jonassen, D. H. (Eds.), Designing Environments for Constructive Learning, Berlin: Springer-Verlag, 1993, pp. 291-313. Disponível em: *D’Angelo, Dolores A., “Lights, Camera, Action: Using Film and Graphic Novels to Explore Themes of Power and Social Control in the High School English Classroom”, in: Journal of Media Literacy Education, Vol. 1, nº 2, 2010, pp. 137-140. Disponível em: 11ª Sessão, Ficção e processos de aprendizagem -24/04 Filmes (Trechos de filmes a definir) Leituras *Akhras, Fábio N., “Uma Perspectiva Teórica para o Documentário como Cinema de Aprendizado”, in: Doc On-Line – Revista Digital de Cinema Documentário, Vol. 9, 2010, pp. 108-124. Disponível em: . *D’Angelo, Dolores A., “Lights, Camera, Action: Using Film and Graphic Novels to Explore Themes of Power and Social Control in the High School English Classroom”, in: Journal of Media Literacy Education, Vol. 1, nº 2, 2010, pp. 137-140. Disponível em: Dornfeld, Barry, “Dear America: Transparency, Authority, and Interpretation in a Vietnam War Documentary”. in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 283-298. *Grosser, David, “‘We Aren’t on the Wrong Side, We Are the Wrong Side’: Peter Davis Targets (American) Hearts and Minds”, in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 269-282. James, David E., “Documenting the Vietnam War”, in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 239-254. Renov, Michael, “Imaging the Other: Representations of Vietnam in Sixties Political Documentary” in: Dittmar, L. and Michaud, G., (Eds.), From Hanoi to Hollywood. The Vietnam War in American Film, New Brunswick and London: Rutgers University Press, 1990, pp. 255-268. *Resnick, Lauren. B., “Situated rationalism: the biological and cultural foundations for learning”. in Prospects, Vol. XXVI, nº 1, 1996, pp. 37-53. Disponível em: . Simons, P. R. J., “Constructive learning: the role of the learner”, in: Duffy, T. M., Lowyck, J. and Jonassen, D. H. (Eds.), Designing Environments for Constructive Learning, Berlin: Springer-Verlag, 1993, pp. 291-313. Disponível em: 12ª Sessão, Cinema e história. Inter-relações. – 31/05 Filme Jud Süss, (Veit Harlan, 1940) Leituras *American Historical Review, Vol. 93, nº 5, December 1988, pp. 1173-1227. *Burke, Peter, 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. *Bernardet Jean-Claude & Ramos, Alcides Freire, 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: Ferro, Marc (Ed), Film et Histoire, Paris: Editions de L’EHESS, 1984. *______ Cinema e História, Rio de Janeiro: Paz e Terra, 1992. Grindon, Leger, Shadows of the Past. Studies in the Historical Fiction Film, Philadelphia: Temple University Press, 1994. Kaes, Anton, From Hitler to Heimat. The Return of History as Film. Cambridge: Harvard University Press, 1989. O’Connor, John E. & Jackson, Martin A., American History/American Film. Interpreting the Hollywood Image, New York: The Continuum Publishing Company, 1979. Rosenstone, Robert A., Visions of the Past. The Challenge of Film to our Idea of History, Cambridge: Harvard University Press, 1995. *Sorlin, Pierre, Sociologie du Cinéma, Paris: Aubier Montaigne, 1977. Virilio, Paul, Guerra e Cinema, São Paulo: Editora Página Aberta Ltda. 1993. 13ª Sessão, Cinema e política. 07/06 Filme A Batalha do Chile Parte 1, (Patricio Gusmán, 1976, 95 min.) Leituras: *Burton, Julianne (Ed.), The Social Documentary in Latin America, Pittsburgh: Latin America Series, 1990. Carynnky, Marco (Ed.), Alexander Dovshenko: The Poet as Filmmaker. Selected Writings, Cambridge: The MIT Press, 1973. *Gaines, Jane, “Political Mimesis”, in: Jane Gaines & Michel Renov (Eds.), Collecting Visible Evidence, Minneapolis: University of Minnesota Press, 1999, pp. 84-102. Kepley Jr., Vance, In the Service of the State. The cinema of Alexander Dovzhenko, Madison: The University of Wisconsin Press, 1986. *López, Ana M., “(Not) Looking for Origins: Postmodernism, Documentary, and America”, in: Michael Renov (Ed.), Theorizing Documentary, New York: Routledge, 1993, pp. 151-163. Michelson, Anette, “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. *Paranaguá, Paulo Antonio, O Cinema na América Latina, Porto Alegre: L & PM, 1985. Petric, Vlada, “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. Sadoul, George, Dziga Vertov, Paris: Editions Champ Livre, 1971. *Vertov, Dziga, Articles, Journaux, Projets, Paris: Union Générale d’Editions, 1972. *Vogel, Amos, Le Cinéma art Subversif, Paris: Buchet/Chastel, 1977. Zimmer, Christian, Cinéma et Politique, Paris : Éditions Seghers, 1974.

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