ARAÚJO, B. W. S. C.; http://lattes.cnpq.br/0087053329102664; ARAÚJO, Bruno Wesley Soares da Costa.
Resumo:
This research is focused on the filmography of documentary cinema and the path of Brazilian
filmmaker Eduardo Coutinho, and, the trajectory that extends from the Popular Center of
Culture to professional rise in the field of documentary cinema in the decade of 1980, and at
this phase we emphasize the social dimension of his films, in what we understand to be the
relationship of the filmmaker's nonfiction films with people socially marginalized, pointing
out structural changes in the filmic language of his productions. In this sense, the research
scales the political and social tensions that permeate the field of cultural artistic production
during the civil-military dictatorship, relating the divergences of the artistic class in the
period, and, as these were institutions of support of the regime, such as Rede Globo de
Televisão, in the period of consolidation of the Cultural Industry in the country, the result of
modernization starting with the Coup d'Éta. The issues of the period reverberate in the life of
the filmmaker and are fundamental to understand a trajectory that would impact the field of
documentary production. Furthermore, we will start from the trajectory of Eduardo Coutinho
to understand the political tensions in the cultural field and analyze three works, Cabra
Marcado para Morrer (1984), Santa Marta – Duas Semanas no Morro (1987) and Boca de
Lixo (1992), which point out transformations in the director's cinematography and show the
social field of his nonfiction films.
