Abstract
This documentary performs an original combination of elements that were present in theater and film productions by the Students Union's mobile cultural arm, the Culture Popular Center - CPC, and elements that would appear in director's Eduardo Coutinho's later work as a member of Globo Reporter (a rare in Brazil television incursion in documentary, that lasted roughly from 1973 to 1984). The film also brings elements of cinema vérité and direct cinema. To focus on the relations between these fragments shot in different moments in time, and in different places reveals potent intermedial relations, and helps to interpret the film as an expression of the director's critique of his own previous ways of filming. This paper traces connections between this reflexive work, and his later experiments - a series of films that can be considered as parts of a conceptual investigation about film as performance and interaction, and affect, in lieu of film as representation.
Keywords
documentary; movies; television; history
