Character engagement as central to the filmmaker–subject relationship:<i>En construcción</i>(José Luis Guerin, 2001) as a case study

Canet, Fernando; Pérez, Héctor J.

doi:10.1080/17503280.2016.1216298

Studies in Documentary Film

2016

DOI: 10.1080/17503280.2016.1216298

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Character engagement as central to the filmmaker–subject relationship:En construcción(José Luis Guerin, 2001) as a case study

Fernando Canet

Héctor J. Pérez

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Cited by 2 publications

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“…For the Fontainhas trilogy, Costa often filmed scenes multiple times until, as he reports, they ‘became fluidly represented and detached of any melodramatic tone’ (quoted in Barradas Jorge, 2014: 55). Guerín, for his part, also staged certain scenes of En construcción , finding it ‘more enlightening to think in terms of control and randomness’ than documentary and fiction (quoted in Canet and Pérez, 2016: 4). Even as they capture the material effects of demolition with documentary precision, the filmmakers also assert their influence on the lives of residents.…”

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Textured Cuts: The Demolition Cinema of Pedro Costa and José Luis Guerín

White-Nockleby¹

2018

Journal of Visual Culture

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This article reexamines the aesthetics of the cut through cinema that challenges the possibility of totality. Looking back at films of demolitions in two Iberian cities, the author considers how cuts – both architectural and cinematic – reveal fissures created by urban renewal projects that preceded global crisis. En construcción (Work in Progress, 2001) by the Catalan filmmaker José Luis Guerín follows the reconstruction of Barcelona’s neighborhood ‘El Raval’, while Portuguese director Pedro Costa’s No Quarto da Vanda (In Vanda’s Room, 2000) films residents in a slum area of Lisbon as their houses are slowly demolished. By attending to neighborhoods that were ‘cut out of’ the urban landscape, these films contest the representation of unified cityscapes, exposing the fractures underlying economic development. The films also provide new ways to understand the ambivalent aesthetics of the cut, which both violently wounds the surface and exposes what lies behind. I will argue that ultimately thresholds produced by the cut speak to the ethical ambiguities of filmmaking, in which the camera inevitably alters whatever it views, thus exposing the textured incompleteness of the image.

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Textured Cuts: The Demolition Cinema of Pedro Costa and José Luis Guerín

White-Nockleby¹

2018

Journal of Visual Culture

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Filmmaker–subject relationship in documentary filmmaking

Canet

2022

Catalan Journal of Communication &Amp; Cultural Studies

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This article aims to provide a contextual overview of the filmmaker–subject relationship in documentary filmmaking. This topic is addressed in those documentary films that require the involvement of the filmmaker in the participants’ everyday lives over a prolonged period, thereby turning their relationship into a central feature of the documentary filmmaking. I argue that the filmmaker–subject relationship involves a personal engagement that problematizes their professional responsibility as expressed mainly in their commitment to the film project and that it is mainly the personal dimension that informs the ethical decisions made by filmmakers. I begin by considering how long-term relationships allow filmmakers to better understand the reality of participants by earning their trust. I then explore the importance in documentary filmmaking of the calculation of costs and benefits in relation to the film and its participants. Finally, I examine how a filmmaker’s sympathetic and antipathetic attitudes towards a participant determine the nature of their relationship.

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Character engagement as central to the filmmaker–subject relationship:En construcción(José Luis Guerin, 2001) as a case study

Cited by 2 publications

References 13 publications

Textured Cuts: The Demolition Cinema of Pedro Costa and José Luis Guerín

Textured Cuts: The Demolition Cinema of Pedro Costa and José Luis Guerín

Filmmaker–subject relationship in documentary filmmaking

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