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Common Cinema: Performance, Drama, a...

Andrade, Fabio,

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Common Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Common Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries // Fabio Andrade.
Author:	Andrade, Fabio,
Description:	1 electronic resource (455 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
Contained By:	Dissertations Abstracts International85-12A.
Subject:	Film studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30814428
ISBN:	9798383161579

Common Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries /
Andrade, Fabio,

Common Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries /Fabio Andrade. - 1 electronic resource (455 pages)

Source: Dissertations Abstracts International, Volume: 85-12, Section: A.

In the twentieth century, modern and contemporary art have incorporated practices of creative restriction as artistic propellers. In this context, canonical artistic schools that rely on maximizing expression-such as mannerism, rococo, and the baroque-have coexisted with practices and methods that dissociated the currency of art from the labor of the artist-such as minimalism, conceptualism, and the readymade. This dissertation analyzes the predicaments of this new creative attitude in the work of the Brazilian documentary filmmaker Eduardo Coutinho. While self-imposed constraints have been conventionally analyzed as formalistic exercises, Coutinho's cinema reawakens the political potential of these practices: by minimizing his directorial agency over the documentary encounter, the filmmaker potentialized the creative contribution of characters who were often coded as his social other-farmworkers; metalworkers; women; black people; residents of a favela in Rio de Janeiro, or of a small town in the sertao of Paraiba.By focusing on the intersection between minimalistic approaches to music, literature, performance, theater, and the visual arts, with a particular mode of non-fiction filmmaking designed to extract dramatic moments from unscripted reality, this work reevaluates the predicaments of the documentary tradition in light of other artistic practices, while suggesting how the work of a specific filmmaker of the Global South can reopen consolidated readings of modern and contemporary art. By restricting his own authority over the filmic encounter-encounters with people who were socially perceived as being different from him-the Brazilian filmmaker creates a system that investigates the very formation of the individual as fluid, contextual, and relational, disentangling cinema from the paradigm of personal expression to, instead, employ video toward an art of process.

English

ISBN: 9798383161579Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Brazil

Common Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries /
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520 $a In the twentieth century, modern and contemporary art have incorporated practices of creative restriction as artistic propellers. In this context, canonical artistic schools that rely on maximizing expression-such as mannerism, rococo, and the baroque-have coexisted with practices and methods that dissociated the currency of art from the labor of the artist-such as minimalism, conceptualism, and the readymade. This dissertation analyzes the predicaments of this new creative attitude in the work of the Brazilian documentary filmmaker Eduardo Coutinho. While self-imposed constraints have been conventionally analyzed as formalistic exercises, Coutinho's cinema reawakens the political potential of these practices: by minimizing his directorial agency over the documentary encounter, the filmmaker potentialized the creative contribution of characters who were often coded as his social other-farmworkers; metalworkers; women; black people; residents of a favela in Rio de Janeiro, or of a small town in the sertao of Paraiba.By focusing on the intersection between minimalistic approaches to music, literature, performance, theater, and the visual arts, with a particular mode of non-fiction filmmaking designed to extract dramatic moments from unscripted reality, this work reevaluates the predicaments of the documentary tradition in light of other artistic practices, while suggesting how the work of a specific filmmaker of the Global South can reopen consolidated readings of modern and contemporary art. By restricting his own authority over the filmic encounter-encounters with people who were socially perceived as being different from him-the Brazilian filmmaker creates a system that investigates the very formation of the individual as fluid, contextual, and relational, disentangling cinema from the paradigm of personal expression to, instead, employ video toward an art of process.
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650 4 $a Latin American studies. $3 2122903
650 4 $a Performing arts. $3 523119
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653 $a Documentary
653 $a Drama
653 $a Minimalism
653 $a Performance
653 $a Process
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720 1 $a Stam, Robert P. $e degree supervisor.
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