The Re-Enchanted Self: notes on Santo Forte and Estamira

This essay examines the representations of the self in two documentary films: Santo Forte (1999) directed by Eduardo Coutinho and Estamira (2004), directed by Marcos Prado. In both films the religious and mystical beliefs of the interviewed subjects reveal multiple forms of subjectivity that express...

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Main Author: Beatriz Jaguaribe
Format: Article
Language:English
Published: Pontíficia Universidade Católica de São Paulo 2011-11-01
Series:Galáxia
Subjects:
Online Access:https://revistas.pucsp.br/galaxia/article/view/6330
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author Beatriz Jaguaribe
author_facet Beatriz Jaguaribe
author_sort Beatriz Jaguaribe
collection DOAJ
description This essay examines the representations of the self in two documentary films: Santo Forte (1999) directed by Eduardo Coutinho and Estamira (2004), directed by Marcos Prado. In both films the religious and mystical beliefs of the interviewed subjects reveal multiple forms of subjectivity that express the juxtaposition between disenchanted and re-enchanted modernities in the contemporary city. As they register the beliefs, experiences and mystical visions of the interviewed subjects, each director forges pacts of reciprocity with his characters. In Santo Forte, this pact is shaped by the director’s technique of empathetic listening. The realistic register of the camera frames the narratives of the interviewed subjects but the camera eye does not offer visions of the re-enchanted world fashioned by their beliefs. In Estamira, the visionary and apocalyptic contents of her speech are reinforced by poetic images combined with realistic documentary sequences.
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spelling doaj.art-1f898fb58c9d4f569c35e15454f339f32022-12-22T02:34:22ZengPontíficia Universidade Católica de São PauloGaláxia1519-311X1982-25532011-11-010225580The Re-Enchanted Self: notes on Santo Forte and EstamiraBeatriz Jaguaribe0UFRJThis essay examines the representations of the self in two documentary films: Santo Forte (1999) directed by Eduardo Coutinho and Estamira (2004), directed by Marcos Prado. In both films the religious and mystical beliefs of the interviewed subjects reveal multiple forms of subjectivity that express the juxtaposition between disenchanted and re-enchanted modernities in the contemporary city. As they register the beliefs, experiences and mystical visions of the interviewed subjects, each director forges pacts of reciprocity with his characters. In Santo Forte, this pact is shaped by the director’s technique of empathetic listening. The realistic register of the camera frames the narratives of the interviewed subjects but the camera eye does not offer visions of the re-enchanted world fashioned by their beliefs. In Estamira, the visionary and apocalyptic contents of her speech are reinforced by poetic images combined with realistic documentary sequences.https://revistas.pucsp.br/galaxia/article/view/6330self, reencantamento, Santo Forte, Estamira
spellingShingle Beatriz Jaguaribe
The Re-Enchanted Self: notes on Santo Forte and Estamira
Galáxia
self, reencantamento, Santo Forte, Estamira
title The Re-Enchanted Self: notes on Santo Forte and Estamira
title_full The Re-Enchanted Self: notes on Santo Forte and Estamira
title_fullStr The Re-Enchanted Self: notes on Santo Forte and Estamira
title_full_unstemmed The Re-Enchanted Self: notes on Santo Forte and Estamira
title_short The Re-Enchanted Self: notes on Santo Forte and Estamira
title_sort re enchanted self notes on santo forte and estamira
topic self, reencantamento, Santo Forte, Estamira
url https://revistas.pucsp.br/galaxia/article/view/6330
work_keys_str_mv AT beatrizjaguaribe thereenchantedselfnotesonsantoforteandestamira
AT beatrizjaguaribe reenchantedselfnotesonsantoforteandestamira