Abstract
This article examines Eduardo Coutinho's Jogo de Cena (2007) in relation to documentary spectatorship across cultures. Coutinho's documentary contains numerous culturally specific and localised references amongst the stories told by a cast of women actors. These stories and the figures that relate them make available a number of layers of knowledge production constituting a filmic experience that is multivalent and complex. In considering these complexities and their spectatorship, this article utilises Paul Willemen's notion of comparative film studies as a springboard to begin a closer consideration of what is possible with a combination of Brazilian cultural knowledge and documentary film theory.
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