In this article, we wish to reflect upon some of the findings of a recent Arts and Humanities Research Council-funded Global Challenges Research Fund Participatory Video (PV) project 'Voicing Hidden Histories'. Working in South Africa, India and Brazil, this project has been using PV to support specific marginalised communities in each country to challenge the way their nations present themselves-and in particular their national history-to the world via 'nation branding' and other 'soft power' initiatives. Specifically we ask: why use filmmaking as an international development tool? What are the enablers of-and barriers to-successful PV initiatives and what does 'success' mean in this context? Moreover, while such projects invariably make claims for PV as a particularly effective method for 'giving' communities 'voice'-however such potentially patronising terms might be defined-very little space is usually dedicated to the exploration of the films produced in such projects, that is to the specific articulation of this 'voice'. Thus, we also wish to challenge a trend in the analysis of such projects that focuses entirely on questions of methodology and an understanding of PV as a Participatory Video in Development: the Voicing Hidden Histories Project, Soft Power, Community Advocacy and Film Language This article reflects upon the findings of the recent AHRC project 'Troubling the National Brand and Voicing Hidden Histories'. Working in Brazil, India and South Africa' the project used participatory video to support specific marginalised communities in country to challenge the way these nations present themselves to the world via 'nation branding' and other 'soft power' initiatives. In so doing, the project sought to raise awareness nationally and internationally of these communities' precarious place in society and to support them in campaigning to effect change in their lives. Why use filmmaking as an international development tool? What are the enablers ofand barriers tosuccessful PV initiatives? What does 'success' mean in this context? What is the role of the filmmaker? Is s/he an artist? A community worker? A therapist? Moreover, while such projects invariably make claims for PV as a particularly effective method for 'giving' communities 'voice', very little space is usually dedicated to the exploration of the films produced in such projects, that is the specific articulation of this 'voice'. Thus, we also wish to examine the ways in which 'Voicing Hidden Histories' used film language both to reflect upon, and communicate, the experience of the participants involved.
Resumo Neste artigo, examinaremos alguns aspectos da redescoberta, por críticos e pesquisadores do cinema nacional, da obra do cineasta ítalo-brasileiro Raffaele Rossi (1938-2007), dedicado à realização de filmes eróticos em São Paulo entre as décadas de 1970 e 1980. Buscaremos observar como esses pesquisadores e críticos, pautados, tanto pela má reputação do cinema paulista da Boca do Lixo quanto pelo culto contemporâneo ao chamado paracinema (SCONCE, 1995), também herdaram uma tradição de décadas dos estudos de cinema nacional que considera a precariedade como potência reveladora da singularidade do cinema brasileiro (SALLES GOMES, 1973; FERREIRA, 1986).
Resumo Este artigo procura analisar a interação entre a cultura cinematográfica brasileira, as comunidades LGBTQIA+ e a sociedade em geral no começo do século XXI, uma interação (e produção cinematográfica) que aumentou exponencialmente durante o período destacado, em grande parte como resultado do alcance aos meios de produção de grupos historicamente segregados, juntamente com maior acesso ao financiamento de filmes. Após contextualizar a produção de filmes queer e a exibição dos mesmos no século 21 no Brasil, o artigo analisará os seguintes filmes lançados nos últimos seis anos: Praia do Futuro (Karim Ainouz, 2014), Mãe só há uma (Anna Muylaert, 2016) e Bixa Travesty (Kiko Goifman e Claudia Priscilla, 2018).
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