Jogo De Research Articles

Reading at the Present Time: Reflections Based on Jogo de Cena

Reading at the Present Time: Reflections Based on Jogo de Cena

“Jogo de espelhos”: comunidades morais entre “polícias”, “milícias” e “pi-lícias” cariocas

Abstract The present paper sheds light on a little-known social actor in Rio de Janeiro's criminal landscape. “Pi-licias” are civilians who impersonate policemen in everyday life, working illegally for legitimate police officers in different ways. They are found in private security markets, as “informants” in parallel police investigations, or even as “auxiliary forces” in police and/or paramilitary raids against drug trafficking gangs. Based on ethnographic fieldwork with candidates for the military police career, the study aims to demonstrate how the “moral communities” founded among military police officers, militias, and “pi-licias” pave the way for illegal “schemes” that emerge from private security markets in Rio de Janeiro.

Quer Ver Como Montar um Jogo de Cena na Pesquisa Educacional? Escuta!

ABSTRACT 1In this essay, I explored connections between Eduardo Coutinho’s documentary feature film ‘Playing’ (Jogo de Cena) and a type of academic-scientific research carried out in the Brazilian educational field. Faced with the paradoxical game where in order to see one needs to listen and in order to listen one needs to see, I outlined the following working argument: by oscillating between memory and documents, the documentarist’s procedural gesture includes archives and frictionizes the ways of carrying out a type of research in education, especially the research based on archival material, presenting possible assemblies of the enunciative perimeters of contemporary educational research.

OUTRO JOGO DE LINGUAGEM COMO PROPOSTA TEÓRICO-METODOLÓGICA DA LEITURA DO LUGAR

The article presents a theoretical-methodological proposition aimed at understanding urban dynamics through the incorporation of the narratives of the inhabitants who occupy and produce the spaces of daily life. Critical to the categories, concepts, indicators and indexes of urban planning, architecture and urbanism and especially to the way they are normally used, the article proposes to transform the diagnosis of territory that is part of the current decision- making processes related to the production of the city, into a reading of place that allows for a different language game in the contemporary political arena. In this direction, the article presents the lines of analysis associated with the field observations and literature that come close to the concepts of reading and place in three disciplinary fields - education, human geography and urban design -, linking them to the spheres form in the territory, activity in the territory and sense of the inhabitant. In short, according to a critical approach, in some extent phenomenological, the proposal aims to decrypt the city through a series of lines of analysis that understand the territory from the perspective of those who live and occupy it, leading to a possible disruption of the valued institutional, technical and academic narratives in force.

Cenografia, agenciamento e mundo ético na entrevista em Jogo de cena: uma abordagem discursiva

ABSTRACT Among Eduardo Coutinho’s vast production, the documentary Jogo de cena (2007) stands out and is celebrated as being the centerpiece of the filmmaker's filmography, in which the interviews occupy a central place. The purpose of this article is to reflect upon these interviews, discursively, based on: speech scenes put in perspective and in relation to the aesthetic choices and materiality of the documentary; nature of the interviewer-interviewee relationship, marked by the refusal of an “alleged neutrality” and the production of settings, scenographies, and ethical worlds. For this, we articulated basic concepts of Discourse Analysis, as theorized by Dominique Maingueneau, such as interdiscourse, scenography, setting and discursive ethos. The results demonstrate that it is possible to establish a dialogue between Coutinho’s methodological apparatus and concepts of Discourse Analysis. From a mystical aura of his welcoming silence, the interviewer’s respectful and considerate ethos in relation to the characters' speeches can be inferred.

The Staging of a Scene: Feminist Politics in Jogo de Cena (2007) & The Arbor (2010)*

Abstract In this article I propose to examine the use of first-person testimonies and their re-enactments in Jogo de Cena (Eduardo Coutinho, 2007) and The Arbor (Clio Barnard, 2010). Through a careful comparison between these two films, I will argue that re-enactment complicates the employment of first person testimonies, producing duplicity and a feeling of estrangement in the viewer. Rather than indicating the ambiguous distinction between reality and fiction, re-enactment presupposes instead the staging of a scene of co-appearance.

Gênero e montagem em Os óculos do vovô (Francisco Santos, 1913): anotações de um historiador

O objetivo do artigo é analisar as relações entre cinema e história a partir de Os óculos do vovô (Francisco Santos, 1913), o mais antigo remanescente da produção ficcional da história do cinema brasileiro. Serão examinados o diálogo da obra com o seu contexto histórico e as questões de estilo, como a estratégia de montagem. Inspirado pelo texto Jogo de Armar: anotações de catalogador, de Maria Rita Galvão, os apontamentos da historiadora em relação à obra também serão objeto de reflexão.

A mise-en-scène do documentário: Eduardo Coutinho e João Salles

Neste ensaio abordaremos dois documentários recentes dos diretores brasileiros João Salles (Santiago) e Eduardo Coutinho (Jogo de Cena). Para analisá-los, buscamos desenvolver análise, com inspiração de metodologia fenomenológica, colocando ênfase na relação entre o sujeito que sustenta a câmera na tomada e o mundo que a ele se oferece, abrindo-se pelo seu corpo (sujeito-da-câmera) ao espectador. Denominamos de encenação essa relação entre o mundo (com pessoas agindo e coisas) e o sujeito que encarna a máquina câmera. A mise-en-scène designa o modo pelo qual a encenação é disposta na tomada, levando-se em conta os diversos aspectos materiais que compõe a cena e sua futura disposição narrativa (em planos). Olhando para história do documentário podemos notar duas variantes estruturais na ação das pessoas para o sujeito-da-câmera. Chamamos de encenação-construída, a ação ou expressão, preparada, de modo anterior, pelo sujeito-da-câmera. Chamamos de encenação-direta a ação para a câmera solta no mundo, ocorrendo sem uma flexibilização direta pelo sujeito-da-câmera. No caso de um primeiro plano de encenação direta, a indeterminação da ação é a própria fisionomia, conformando-se em afeto ou afecção. Em Jogo de Cena estão dispostas diversas modalidades de encenação que interagem entre si articulando-se em um corte desconstrutivo. Em Santiago duas modalidades históricas do encenar contrapõe-se, num movimento animado pela má-consciência.

Inquiries into Eduardo Coutinho and His Dialogue with Modern Tradition

FQ makes this important text by the Brazilian film historian and theorist Ismael Xavier available for the first time in English. A member of Brazil's first generation of film-studies academics, Xavier was one of the first scholars to write extensively on Coutinho's work. This article, originally published in Portuguese, was the first to name Coutinho's practice as one of theatricality (jogo de cena) as well as conversation and was therefore influential not only for later scholarship but for Coutinho himself.

O guessing game na leitura do conto literário

The article focuses the guessing game (Goodman 1991; Smith 2003), on the reading of a short story, in order to achieve its comprehension. The article takes as object of study the short story “Betsy”, by Rubem Fonseca.Initially the theoretical ground is presented, associating reading and guessinggame, translated as jogo de adivinhacao. Hereafter, a possible metacognitiveprocess is demonstrated considering a possible reader. Thereupon, theresults of a research realized with Languages’ Course students are presented,examining their guessing paths on the reading of the same short story. Inthe fi nal comments, refl ections on the possibilities of this Psycholinguistics/Literature interface and its application on teaching are made

Mudança: a dimensão política da obra de Vergílio Ferreira como estratégia contra o trauma

MUDANÇA: THE POLITICAL DIMENSION IN VERGÍLIO FERREIRA’S WORKS AS A STRATEGY AGAINST TRAUMA
 This article aims to explore the importance and significance of the political dimension of the work of Vergílio Ferreira, in particular, his novel Mudança (1991) and his short‑story O Jogo de Deus. The political dimension of the author’s work is a complex theme, not only because of its complex articulation of a political position that rejects teleological ideologies, but also because of the attitude of the main aesthetical discourse of the time, Neo‑Realism, which seemed to reject and ignore Ferreira’s work. However, its importance cannot be overlooked, especially taking into consideration its existentialist vision of liberty and how it can be configured as an answer for the trauma of Salazar’s dictatorship, both on an individual and collective level.

Reading across cultures towards a comparative documentary film studies: Eduardo Coutinho's documentary Jogo de Cena (2007)

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.

Oficinas culinárias: uma estratégia de educação nutricional sob a perspectiva do PRÓ-SAÚDE.

The Sub Project 5 “Physical Activities , Body Practices and Healthy Eating: the programs Jogo de Cintura, Doce Desafio and Oficinas Culinarias”, is inserted in the National Program for Reorientation of Vocational Training in Health - Pro-Saude, which aims to contribute to the promotion of healthy and sustainable ways of living, with an emphasis on healthy eating and physical activity. This study provides a description on the activities of Culinary Workshops for healthy eating and food practices. Five workshops were carried out, being four cooking workshops and one sensory test workshop. Steps for workshops planning were demand identification and theme definition; research and selection of meals; preparation of manufacturing technical cards (FTP); preparation of the workshop plan and of materials for disclosure; completion of the workshop; and data analysis. The audience was made up of adults with diabetes mellitus or other chronic diseases, participants of Jogo de Cintura and Doce Desafio programs for culinary workshops. Nutritionists of the Popular Restaurants composed audience for the workshop on sensory tests. Difference and / or acceptance tests, depending on the workshop, were applied. The meals made in the workshops were generally well accepted, except for those in which difficulties with the instructions of the manufacturing technical card were obseved. Participants were asked about satisfaction with the workshops and responded positively. Culinary Workshops are revealed as a nutrition education strategy in the context of the Pro-Saude Program, considering the community served as a practice field for teaching and research, besides training of students in the principles of primary health care.

What is documentary mise-en-scène? Coutinho's mannerism and Salles's ‘mauvaise conscience’

In this essay we will discuss two contemporary documentaries (Santiago and Jogo de Cena) produced by Brazilian directors João Moreira Salles and Eduardo Coutinho. We will work with the concept of mise-en-scène, developing an analysis inspired by phenomenological methodology. The emphasis will be placed on the subjective figure that holds the camera in the take, called ‘camera-subject’. In this sense, the world, in the take circumstance, offers itself to the spectator in a kind of commutation, mediated by a corporeal camera-subject flesh. Mise-en-scène designates then the way staging is arranged as an inter-action in the take. When we look at documentary history, we can observe two structural variants in the way bodies act and express themselves to a ‘camera-subject’, staging through mise-en-scène. We will call them ‘constructed-acting’ and ‘directed-acting’. In Coutinho's Jogo de Cena those two different modes of staging are arranged in order to blend themselves, articulated in a deconstructive approach. In Salles's Santiago the two historical modes of staging are set against each other, in a movement driven by a kind of guilty, ‘mauvaise’ conscience.

CIRCUITO ESPACIAL PRODUTIVO DO CAFÉ E O JOGO DE ESCALAS

Desde a decada de 1990, a adocao da ideologia e das politicas neoliberais provocaram grandes transformacoes nas dinâmicas produtivas e na relacao entre os agentes do circuito espacial produtivo do cafe brasileiro. Alteracoes no papel do Estado permitiram o aumento do poder e da escala de acao de grandes empresas torrefadoras e tradings, em detrimento, sobretudo, dos pequenos produtores. Dessa forma, o artigo tem como objetivo analisar as relacoes de poder entre os agentes que compoem o circuito espacial produtivo do cafe e suas respectivas escalas geograficas de acao. Para isso, parte-se de uma discussao sobre a definicao e a articulacao dos conceitos de circuito espacial produtivo e escala geografica, para depois analisar a ascendencia da regulacao corporativa na cafeicultura e as alternativas de producao de cafes especiais desenvolvidas por alguns produtores.

Stanzas and Sticks: Poetic and Physical Challenges in the Afro-Brazilian Culture of the Paraiba Valley, Rio de Janeiro

This article examines physical and poetic challenges among men in the post-emancipation society of the Paraíba valley, in the state of Rio de Janeiro. Challenges were common in cultural forms such as jongo, calango, Folia de Reis (Kings’ Folly) and jogo de pau (stick playing). These challenges allowed poor men from coffee plantations, cattle estates and nearby villages to display their physical dexterity as well as their poetic skills, and ultimately to assert their value as human beings in a society that otherwise denied them access to basic citizen rights.

Jogo de capoeira: when actors play a ‘physical dialogue’

In previous works (Miranda 2003, 2010), I have argued that the Brazilian martial art capoeira can be viewed as a corporeal practice for actors that aids in the resistance of ‘docility’ (as conceived by Michel Foucault). The physical training of actors based on capoeira aims to escape the structure and strategies of militarised physical training methods. African knowledges, displaced from their original context, were absorbed by Brazilians, who created specific aspects of capoeira such as transformation and resistance. It is these Afro-Brazilian elements that are of particular interest when considering adopting capoeira for the purpose of training actors. Capoeira, as a ‘strategy of resistance’, offers actors new possibilities to understand how their body functions in relation to other acting bodies. The jogo de capoeira constitutes itself as a jogo (game) when two partners play capoeira together. Jogo is capoeira's most traditional training strategy and requires and stimulates the development of corporeal interaction between two partners. It can be argued that the jogo is capoeira's basic structure of communication, where the ‘physical dialogue’ between two capoeira players takes place. This concept of ‘physical dialogue’ is encountered in academic interpretations of the jogo such as Lewis (1992) and Matsumoto (2001), however jogo de capoeira is also popularly perceived as a conversation between bodies among capoeira players themselves. This perception of jogo as a ‘physical dialogue’ opens up capoeira to be used in the development of an actors' ability to physically communicate.

The jogo de capoeira and the fallacy of ‘creole’ cultural forms

In the early nineteenth century numerous enslaved Africans in Rio practiced the jogo de capoeira, a dynamic pugilistic game blending kicks and acrobatic defenses into a corporal chess like competition. Scholars typically frame this art form as a Brazilian ‘creole’ – a hybrid formed from an untraceable bricolage taken from all the kinesthetic repertoires of the hundreds of different African ethnicities represented among the enslaved population of Brazil. In this article, I demonstrate the degree to which ‘creole’ is an intellectually untenable category by comparing the trans-national histories of Rio de Janeiro's jogo de capoeira and New York City's boxing in the eighteenth and nineteenth centuries. The double standard revealed by this empirical analysis highlights that, contrary to claims that the creole concept somehow destabilizes racial absolutes, it is ultimately complicit in the reproduction of racial essentialism.

Mollusks of Candomblé: symbolic and ritualistic importance

Human societies utilize mollusks for myriad material and spiritual ends. An example of their use in a religious context is found in Brazil's African-derived belief systems. Candomblé, an Afro-Brazilian religion introduced during the 18th-19th centuries by enslaved Yoruba, includes various magical and liturgical uses of mollusks. This work inventoried the species utilized by adherents and to analyzed their symbolic and magical context. Data were obtained from Candomblé temples in two cities in the northeast of Brazil-Caruaru, in the state of Pernambuco, and Campina Grande, in the state of Paraíba. Questionnaires administered to eleven adepts revealed that at least nineteen mollusk species are being used. Shells from Monetaria moneta, M. annulus and Erosaria caputserpentis were cited by all of the interviewees. Three uses stood out: divination (jogo de búzios); utilization as ritual objects; and employment as sacrificial offerings (Igbin or Boi-de-Oxalá). The jogo de búzios (shell toss), employed in West Africa, Brazil and Cuba, is of fundamental importance to the cult, representing the means by which the faithful enter in contact with the divinities (Orixás) and consult people's futures (Odu). The utilization of mollusks in Candomblé is strongly influenced by ancient Yoruba myths (Itãs) which, having survived enslavement and generations of captive labor, continue to guide the lives of Brazil's African Diaspora.

O filme Jogo de cena e o corredor de espelhos

In the movie Jogo de cena Eduardo Coutinho draws attention to a discussion that, although hidden in his other movies, is always there: the construction of characters and stories that are carried by the mise en scène and also by the elements of audiovisual language. This article intends to analyse how the cinematographic environment conceived by the director creates a manner of expression able to produce constructs of stories and a new narration style.