A tese desta dissertação se consolida a partir da ideia de ensaio no campo cinematográfico. O gênero ensaístico surge literatura, tendo sido elaborado por Michel de Montaigne (1533 – 1592) e, no cinema, as obras que se constroem a partir da estética ensaística são marcadas pela subjetividade e reflexividade, com a presença de um narrador que se difere do narrador de documentários expositivos clássicos. Os elementos que se observam, por exemplo, são o uso da voz off e produção em primeira pessoa. Este trabalho é uma proposta de estudo sobre a construção de um narrador próximo do real e levanta a hipótese de que esse narrador estaria próximo do narrador de Walter Benjamin (1996). O objetivo dessa pesquisa é compreender esse narrador, que é influenciado pelas características ensaísticas e que aparece no cinema documentário contemporâneo. Para isso, escolhemos analisar os processos e características da linguagem ensaística no filme documentário em três obras audiovisuais: Construção (2006), Mataram meu irmão (2013) e Elegia de um crime (2018), do realizador paulista Cristiano Burlan, que constituem uma Trilogia do Luto.

This work is the result of a research project that was conducted by the Graduate Program in Art and Visual Culture, master´s level, in FAV-UFG, and aimed to immerse in the dance theater practice, through paths traced by the German choreographer Pina Bausch, who was a guide in the development os this research and helped me to answer personal questions, which the principal aim was to discover how our histories, memories and feelings are represented in body. This research started with a watchful eye in the dance history, as well as in the creative process of Pina Bausch to be able to understand the method of creating images by the body and her representations through cinema. Her unique movie “The Lament of the Empress” had an important function in structuring the Project, since questions that were shared with two other dancers in an immersive practive came from it, and led to the creation of a documentary that dialogues with the videodance and brings through interviews, essays and movements research a sample of a body-affective experience also shared with students from the Federal Institute of Goiás. In a play between theories and reports I sought the different perceptions of the body and dance, crisscrossing authors of visual culture, movement researchers, theories of representation, documentary, which merged with the reports of the meetings with dancers, ballet lessons, contemporary dance and some workshops. The aim was to achieve tangible answers that unravel the pathways of the body and image to find my dance through my body.

In the city of Catalão - GO, there are hardly any public policies and actions geared toward women, particularly those relating to awareness-raising and support groups. Through the empowerment of the women in this scenario can be reversed, and to make it a reality for hundreds of thousands of women. The first step is to open up the space to ensure that the voice of women to be heard and shared, and one way to do this is through the film, and its enormous potential for education. To that end, there arose an interest in the research on empowerment, and producer of the documentary film "Entre Elas". the end product of this research. A film about six women who live in the Catalan, where the narrative of the life and which are told by themselves, bringing out thoughts and emotions about who they are, what they want, their challenges and their dreams, and in one of them, for they are, and where the voice of the one empowers the other. The whole process of the production of the film, from its conception, is reported to have a step-by-step, showing you what is possible for women to make a film, as well as the importance of more women to be and to be recognised in the film.

This research proposes a reflection on the relationship between the documentary and the essay film in the film Jogo de Cena (2007) by Brazilian documentary filmmaker Eduardo Coutinho. It is investigated if there is a tension between the analyzed domains in the analyzed film. From this question I seek to understand how the technical and aesthetic choices that constitute Coutinho's style assume essayistic contours in the research object. In order to answer the research question, I aim to understand how Coutinho 's cinematographic style is characterized and constituted; to understand how Jogo de Cena (2007) plays in the tradition of the documentary and to understand how the essay film was constituted and how it can be identified in the cinema. Methodologically, a proposal for the analysis of documents by Francisco Elinaldo Teixeira was adopted in three moments: 1. Inventory of composition materials; 2. Inventory of compositional modes; 3. Reflection on narrative modes and camera functions. Through the analysis it is indicated how it is possible to recognize essayistic strategies in Jogo de Cena (2007) as: the voice of essay tone, the dialectic of materials, the montage between word and image, the heterogeneity of the composition materials, second reading order. Thus, it is concluded that the film studied even belonging to the documentary domain presents a strong essayistic inflexion.

The main objective of this research is to produce a documentary that has as theme the experience of the participants in the studente movement, in UFG context, between 1979 and 1985, the last moments of Brazilian military dictatorship. That documentary focuses on reaction to images produced about and by youth college students at that time. The documentary will also deal with research of images and material documents. We will try to build an original soundtrack also genereted by sampling process, that is, sound reassembly of existing material. The soundtrack will be an element of expression and politica ideology. This work also proposes three new descriptive categories: micro power rizonomic network, visagem and symbolic accertion.

The research aims to examine the trajectory of the concepts of staging and performance in the documentary through the work from the maturity of Brazilian filmmaker Eduardo Coutinho: Edificio Master (2002). In this film, we are able to comprehend the director’s creation process, it’s unique relationship with the documentary characters and his conception about the devices. Our hypothesis is that Coutinho’s conversation cinema, which finds its maturity on movies like Edificio Master, articulates staging strategies to certain procedures that aim to create a fissure in what is real, allowing for the emergence of a liminal space, between the everyday and the performative space. A place of invention among those who film and those who are filmed. An interweave of performance as defined by Brasil (2011): the gesture before the mise en scène. This work explores how Eduardo Coutinho, prominent name of the conversation cinema, enables, in the final phase of his work, the dialogue between contemporary documentary thought and practice and performance theory.

Este trabalho busca analisar a montagem como etapa fundamental do processo de produção de um filme, em especial do filme documentário. Partindo de uma trajetória tecnológica das máquinas de montagem e seguindo para uma análise das máquinas de captação de som e imagem, chegando até o que hoje conhecemos como cinema digital, é possível perceber como as mudanças de estilo e escolas cinematográficas são influenciadas por cada uma dessas transformações tecnológicas. Esta trajetória, apesar de ser apresentada de forma cronológica, não deixa de transparecer as disputas presentes na adoção dessas novas tecnologias desde as light-box usadas no cinema mudo, passando pela Moviola e as flatbeds usadas para montagem em película, assim como os equipamentos de montagem em vídeo e mais recentemente a edição digital. O cinema, sendo uma arte dependente da tecnologia audiovisual, vê-se bastante afetado pelas máquinas de montagem e captação. A partir de relatos de montadores e montadoras, é possível perceber como a digitalização total do cinema, ou seja, com a captação, edição e exibição de som e imagem feitas de forma digital aumenta de forma exponencial a quantidade de material bruto que chega às ilhas de edição a ponto de instigar editores ao redor do mundo a se organizarem em associações a fim de garantir condições mínimas de trabalho. Por fim, é feita a análise do filme “Máquina do desejo” (2021) de Joaquim Castro e Lucas Weglinski, um filme de montagem ou filme de arquivo que materializa algumas questões presentes nesta dissertação.