Name: IVANIRCE GOMES WOLF
Publication date: 22/03/2019
Advisor:
Name |
Role |
|---|---|
| AISSA AFONSO GUIMARÃES | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| AISSA AFONSO GUIMARÃES | Advisor * |
| SANDRO JOSE DA SILVA | External Examiner * |
Summary: This dissertation investigates audiovisual production of Guarani indigenous
filmmakers trying to understand in what these videos differ from the non indigenous film production. The positioning of the indigenous people as filmmakers began in the pioneer project Vídeo nas Aldeias, founded in 1986, by the filmmaker Vincent Carelli, who put the camera in hands of people who were only film object before. This exchange of positions gave rise to new approaches for historical and anthropological studies. The objective, therefore, reflect about the indigenous and non-indigenous relation, and understand how the stereotypes and the political reality of the outside world has affected the indigenous filmmakers and their artistic production. For this, was considered the studies of specialists about the Guarani indigenous culture, the History, the indigenous antropology and the comunication. The film analysis produced by indigenous filmmakers was performed through the study of the naratives collected in interviews with this filmmakers and with members from Guarani community of Espírito Santo and Rio de Janeiro. The narratives collected by field research provide the base to the film analysis that occurs at the intersection between the researcher view and the stories from the Guarani filmmakers, using the concept of representation, which is constructed from the film premise about sense building with the spectator that faces not with facts, but with relations constituted by the history of the film. Was perfomed an analysis of recorded vídeos in partnership with the project Video nas Aldeias, and in independent productions, produced by indigenous filmmakers, among which Alberto Alvares, Patrícia Ferreira and Daniel Ortega: Guardiões da Memória (2018), Duas aldeias, uma caminhada (2008), Bicicletas de Nhanderu (2011), and the video installation A imagem como arma (2017), by Patrícia Ferreira, indigenous filmmaker, and by Sophia Pinheiro, non indigenous plastic artist, besides other works. The video production of Guarani filmmakers reveals and it is constituent part of the relation that the indigenous filmmakers have with the other, the white man, and with the world outside of village. The indigenous cinema puts itself on screen in a way to reflexion about itself, about life and art, like a gun of inquiry and a way to live, to preserve indigenous memorie, and give a speech place and political resistance.
Key-words: Indigenous Art. Cinema. Indigenous directors and producers. Politics in Art. Guarani Indigenous People. Indigenous Artists.
