Costurando histórias: o papel da montagem no cinema documentário contemporâneo

Abstract

This work seeks to analyze the editing as a fundamental stage of the production process of a film in particular of the documentary film. Starting from a technological trajectory of the editing machines and moving on to an analysis of the sound and image capture machines reaching what we know today as digital cinema, it is possible to perceive how the changes in style and film schools are influenced by each of the technological changes. This trajectory, despite being presented chronologically, shows the disputes present in the adoption of these new technologies. From the light-boxes used in silent cinema, through the Moviola and the flatbeds used for film editing, as well as video editing equipment and more recently digital editing, being an art dependent on audiovisual technology, cinema is greatly affected by the editing and capture machines. From the speech of editors, it is possible to perceive how the total digitization of the cinema, that is, with the capture, editing and display of sound and image made digitally, the amount of raw material that reaches the editing rooms increases exponentially to the point of instigating editors around the world to organize themselves in associations aiming to ensure minimum working conditions. At the end there is an analysis of the film "Desire Machine" (2021) by Joaquim Castro and Lucas Weglinski, a montage film or archive film that materializes some issues present in this dissertation.