A verdade e a poética no cinema etnográfico: uma re-produção da realidade

Abstract

Between Cinema and the Truth there has always been a similarity, a doubt and many reflections. In this project work, which attempts to be a hybrid between dissertation and cinematographic work, we think of the relationship between cinema and truth with particular incidence on ethnographic studies through the moving image and the poetics inherent to cinema as a form of truth. We begin the investigation with an introduction to the theories of documentary cinema and a reflection on the implications of the cinematographic mechanism. In a second section we will approach the collective look on a form of cinema that may be a reflection of humanity, addressing issues such as the archive, the memory and the conception of the world. Finally, we will think about the problematics attached to the concepts of truth and poetics. In this phase we will try to establish a profitable relationship between the poetics inherent to ethnographic cinema and reality. Thinking about art and science, poetics and truth, cinema and reality, authors like Friedrich Nietzsche, Novalis, Martin Heidegger, Sophia de Mello Breyner Andresen; directors like Robert Flaherty, Jean Rouch, João Moreira Salles, Pier Paolo Pasolini will be approached, among others. Trying to dissociate preconceptions tied to the notion of truth, we will try to come to an explanation on how the poetics linked to cinema can be a contribution to the truth in the sense that, in them, one can find or reveal fragments of reality that would not otherwise be possible. In this way, the recording of moving images could be a medium of observation of reality, as well as the other and the self, capable of looking at the world in a more profound, complete way, with a different spatio-temporal dimension than usual, which will allow us to observe reality with an exquisite look. This approach will lead us to consider the possibility of the camera bringing to the human a way to enhance his recording of the world, given that it sees more than the individual, as well as whomever witnesses the reproduction of these images will be able to see more than who filmed them.