Abstract
This paper observes communities of spectators in its actual appearance in films directed by (or in co-authorship with) indigenous groups. Indeed, this production (particularly within Video in the Villages project) shows that beyond of a method or procedure, exhibiting films for a unique community assumes the statute of a dispositive, which has not only cinematic implications but also cosmopolitical ones. In movies such as A arca dos Z’oé (1993), De volta à terra boa (2008), Pirinop – meu primeiro contato (2007), Tava – casa de pedra (2012) e Pele de branco (2012), “communities of cinema” are formed, integrating the mise-en-scène and forging a complex image, in which the group recognizes itself at discrepancy delaying.
Keywords
video in the villages; cinema communities; cosmopolitics
