O Self Reencantado: notas sobre Santo Forte e Estamira The Re-Enchanted Self: notes on Santo Forte and Estamira

• Main Author: Beatriz Jaguaribe
• Format: Article
• Language: English
• Published: Pontíficia Universidade Católica de São Paulo 2012-01-01
• Series: Galáxia
• Subjects: self, reencantamento, Santo Forte, Estamira
• Online Access: http://revistas.pucsp.br/index.php/galaxia/article/view/6330

Este ensaio examina as representaes do self em dois documentrios: Santo Forte (1999), de Eduardo Coutinho, e Estamira (2004), de Marcos Prado. Em ambos, as crenas religiosas e msticas dos personagens entrevistados revelam mltiplas formas de subjetividade que expressam a justaposio entre modernidades desencantadas e reencantadas na cidade contempornea. Ao registrarem as crenas, experincias e vises msticas dos entrevistados, os diretores de cada filme forjaram pactos de reciprocidade com seus personagens. Em Santo Forte esse pacto traado pela tcnica de entrevista pautada pela escuta emptica do diretor. O registro realista da cmera potencializa a fala dos entrevistados, mas no oferece vises do mundo reencantado proveniente da crena dos personagens. J em Estamira, os contedos visionrios e apocalpticos de sua fala so tambm reforados pelas imagens poticas combinadas s sequncias realistas documentais.<br>This essay examines the representations of the self in two documentary films: Santo Forte (1999) directed by Eduardo Coutinho and Estamira (2004), directed by Marcos Prado. In both films the religious and mystical beliefs of the interviewed subjects reveal multiple forms of subjectivity that express the juxtaposition between disenchanted and re-enchanted modernities in the contemporary city. As they register the beliefs, experiences and mystical visions of the interviewed subjects, each director forges pacts of reciprocity with his characters. In Santo Forte, this pact is shaped by the directors technique of empathetic listening. The realistic register of the camera frames the narratives of the interviewed subjects but the camera eye does not offer visions of the re-enchanted world fashioned by their beliefs. In Estamira, the visionary and apocalyptic contents of her speech are reinforced by poetic images combined with realistic documentary sequences.