Samuel Paiva

Roteiros abertos em filmes de busca

We will discuss in this text how characters of the films 33 (Kiko Goifman, 2002) and Olhe pra mim de novo (Kiko Goifman, Claudia Priscilla, 2009) handle the “risk of the real” (Comolli, 2008) in the course of these documentaries filmmaking, signaling to the construction of open screenplays which arrive at the time of shooting without prior definition of what will be recorded as image and sound in different planes, scenes, sequences. To do so, we follow methodological trails proposed by Aumont and Marie (2009) about “film analysis”, bringing them to the notions of “ search documentary” (Bernardet, 2005) and “documentary reading” (Roger Odin, 2012) to thus realize the search for family as a challenging issue in the films in question.

Guiones abiertos en documentales de búsqueda

We will discuss in this text how characters of the films 33 (Kiko Goifman, 2002) and Olhe pra mim de novo (Kiko Goifman, Claudia Priscilla, 2009) handle the “risk of the real” (Comolli, 2008) in the course of these documentaries filmmaking, signaling to the construction of open screenplays which arrive at the time of shooting without prior definition of what will be recorded as image and sound in different planes, scenes, sequences. To do so, we follow methodological trails proposed by Aumont and Marie (2009) about “film analysis”, bringing them to the notions of “ search documentary” (Bernardet, 2005) and “documentary reading” (Roger Odin, 2012) to thus realize the search for family as a challenging issue in the films in question.

Open screenplays in the search films

We will discuss in this text how characters of the films 33 (Kiko Goifman, 2002) and Olhe pra mim de novo (Kiko Goifman, Claudia Priscilla, 2009) handle the “risk of the real” (Comolli, 2008) in the course of these documentaries filmmaking, signaling to the construction of open screenplays which arrive at the time of shooting without prior definition of what will be recorded as image and sound in different planes, scenes, sequences. To do so, we follow methodological trails proposed by Aumont and Marie (2009) about “film analysis”, bringing them to the notions of “ search documentary” (Bernardet, 2005) and “documentary reading” (Roger Odin, 2012) to thus realize the search for family as a challenging issue in the films in question.