O DOCUMENTÁRIO ETNOGRÁFICO E SUAS VARIANTES: REVISITANDO ROBERT FLAHERTY, LENI RIEFENSTAHL E JEAN ROUCH

João Eduardo Hidalgo, Rosa Maria Araújo Simões

Abstract


When Robert Flaherty (1884-1951) pointed his camera to Nanook, a Northern Inuit of Canada in 1921 he created without knowing the actual record for the audiovisual and also the ethnographic genre, because he framed an ethnic group. In the 1930s the German Leni Riefenstahl (1902-2003) built for Hitler a visual representation of Aryan Man Myth in Triumph of the Will (1935) and Olympia (1938) and revolutionized the language of documentary, also having an ethnic intention in mind. Investigating the social conditions of the population of Paris, with a question 'Are you happy?' Jean Rouch (1917-2004) entered the designation of 'cinema verite' in this type of documentary in 1959 and sought to show the conditions of the French colonies in their works Le maîtres fous (1954) and Moi un unoir (1958). Our goal is to reflect on the legacy of the three key authors to understand the documentary such as logging and construction of an identity.

 

 

Index Terms – audiovisual, ethnographic, visual representation.


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