서브메뉴
검색
Common Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries
Common Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20250211150916
- ISBN
- 9798383161579
- DDC
- 791
- 저자명
- Andrade, Fabio.
- 서명/저자
- Common Cinema: Performance, Drama, and Politics in Eduardo Coutinhos Documentaries
- 발행사항
- [Sl] : New York University, 2024
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2024
- 형태사항
- 455 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-12, Section: A.
- 주기사항
- Advisor: Stam, Robert P.
- 학위논문주기
- Thesis (Ph.D.)--New York University, 2024.
- 초록/해제
- 요약In 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.
- 일반주제명
- Film studies
- 일반주제명
- Latin American studies
- 일반주제명
- Performing arts
- 키워드
- Brazil
- 키워드
- Documentary
- 키워드
- Drama
- 키워드
- Minimalism
- 키워드
- Performance
- 키워드
- Process
- 기타저자
- New York University Cinema Studies
- 기본자료저록
- Dissertations Abstracts International. 85-12A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
008250123s2024 us c eng d■001000017160134
■00520250211150916
■006m o d
■007cr#unu||||||||
■020 ▼a9798383161579
■035 ▼a(MiAaPQ)AAI30814428
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a791
■1001 ▼aAndrade, Fabio.
■24510▼aCommon Cinema: Performance, Drama, and Politics in Eduardo Coutinho's Documentaries
■260 ▼a[Sl]▼bNew York University▼c2024
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2024
■300 ▼a455 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-12, Section: A.
■500 ▼aAdvisor: Stam, Robert P.
■5021 ▼aThesis (Ph.D.)--New York University, 2024.
■520 ▼aIn 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.
■590 ▼aSchool code: 0146.
■650 4▼aFilm studies
■650 4▼aLatin American studies
■650 4▼aPerforming arts
■653 ▼aBrazil
■653 ▼aDocumentary
■653 ▼aDrama
■653 ▼aMinimalism
■653 ▼aPerformance
■653 ▼aProcess
■690 ▼a0900
■690 ▼a0550
■690 ▼a0641
■71020▼aNew York University▼bCinema Studies.
■7730 ▼tDissertations Abstracts International▼g85-12A.
■790 ▼a0146
■791 ▼aPh.D.
■792 ▼a2024
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17160134▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
