Jean Rouch

El concepto de ciné-trance existe desde mucho antes de que en la discusión etnográfica se hablase de cuestiones tales como la crisis de la representación o documento oculto. Desde un punto de vista crítico post-estructuralista hago una revisión de las condiciones e implicaciones del ciné-trance, estableciendo paralelos entre abordajes postmodernos de la etnografía audiovisual y el ciné-trance, en especial en relación a la noción de epistemología del cuerpo. Finalmente, por medio del análisis de la película Moi, un Noir (Jean Rouch, 1958), examino estéticas y contenidos del ciné-trance. Mi tesis consiste en que el ciné-trance y la consecuente epistemología del cuerpo permiten que los complejos e inconclusos procesos de construcción de identidad se manifiesten, en lugar de representar sujetos y objetos etnográficos completos y coherentes.

American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films: the highly formative early shorts Baby (1954) and Daybreak Express
(1953–1957), the Drew Associates oddity David (1961), as well as Wild 90 (1968), Eat the Document (1972) and 1 P.M. (1972) – collaborations with Norman Mailer, Bob Dylan and Jean-Luc Godard, respectively. He addresses the meaning of cinéma vérité, Godard’s ‘reckless’ approach to film-making, and the sadness behind his second, and ultimately abandoned, collaboration with Dylan.

In this chapter, I argue that the elusive phenomenon of perezhivanie (or “intensely-emotional-lived-through-experience”) can be made available for analysis in its full, dynamic complexity in part through the use of synthetic-analytic methods of representation that themselves evoke and manifest perezhivanie. I de- scribe an application of Vygotsky’s method of analysis of literary works to play that makes perezhivanie an empirically researchable phenomenon. I focus on one example of this application in which a team of researchers, including the author, made maximum use of our roles as participant-observers by enhancing our own and others’ emotional re-engagement in adult-child joint play using the art form of film and play. My claim is that this process did not show us perezhivanie that was less ‘real’ than the perezhivanie we had experienced firsthand but instead revealed qualities of the perezhivanie we had experienced that we could not see without our “film-play”.

Tansi. Comment le présenter ?... Te présenter cher Sony, puisque, comme dit mon ami franco-camerounais acteur, chorégraphe et danseur – et pas seulement de la tête –, James Carlès, depuis le jour où nous avons commencé à te lire ensemble à haute voix, et à éclater de rire ensemble de t'entendre parler, tu es pour nous une personne – c'est-à-dire un homme comme nous tous, « fait avec de la viande et du sang, porteur d'espoirs, de rêves, de folies, de peur », un homme de sueur et de salive. Comment te présenter ?... en tous cas, certainement pas en faisant une conférence. Pour les raisons que tu as toi-même dites devant les universitaires de la faculté des lettres et sciences humaines de l'Université Marien-Ngouabi de Brazzaville qui, justement, t'invitaient imprudemment à en faire une : d'abord, parce que les conférences sont « des machins du 20 ème siècle » et que « les races, les tribus, les classes, en un mot le coeur humain n'est pas au 20 ème siècle » ; ensuite parce que les conférences sont le fait d'intellectuels, c'est-à-dire « d'ustensiles de cuisine » que tu digères très mal. Parce que les conférences – nous sommes payés pour le savoir (et pour le faire) – visent bien, comme tu l'as dit, en tirant le plus grand nombre de mots à la seconde, à enseigner non pas à écrire, ou, ce qui revient au même, à exister, mais autant de comportements possibles face à l'écriture (face à l'existence) qu'il en faut pour susciter d'infinies polémiques et un brouhaha de thèses, d'antithèses, de synthèses et de doctorats à rédiger et à soutenir. Autant de manières de disserter l'existence sans écrire, au lieu de prendre la sienne entre les dents – dans tes mots : de s'en « frotter le coeur », de la « frotter crasseusement à celle d'en face ». A la conférence tu opposes et substitues l'adresse. La meilleure façon de te présenter serait alors peut-être de parler de toi en s'adressant à qui on parle « droit dans le fond de la culotte », comme tu dis encore, au lieu de leur parler de dos – et donc, de ne te citer qu'à condition que chaque citation ait la force d'une adresse et ne puisse jamais être l'occasion d'un charcutage intellectuel. Sony est Tansi, parce que la vocation du poète kongo, Marcel Ntsony ou Gérard-Philippe Tchicaya, est de perdre son nom français pour être U Tam'si : celui qui témoigne d'un pays, d'une terre. Ce qui n'a rien à voir avec une quelconque délégation ou représentation. Tansi n'est pas Senghor. Tansi n'est pas le nom d'un député noir au parlement des Blancs, ni d'un fétiche nègre dans un musée parisien. Ni Quai d'Orsay, ni Quai Branly. Mais de quoi témoigne Tansi ? De ce dont nous qui ne sommes pas kongo n'avons pas vraiment idée. Et si nous ne pouvons pas satisfaire ceux d'entre nous qui s'attendaient tout de même légitimement, vu les circonstances, à une dissertation sur la marque de fabrique de ce Sony Labou Tansi, savoir par exemple comment son réalisme merveilleux se positionne à l'égard des choses en soi, du réalisme spéculatif ou pas… parlons au moins du sujet annoncé dans le programme… ce dont témoigne d'abord Tansi c'est du fait que nous n'avons, ici, dans toute l'Europe, comme dans toute l'étendue du monde européanisé qui est partout le même ici, pas de plus dur traumatisme à vivre que celui de risquer de se faire couper la bistouquette par papa, de brailler jusqu'à l'épuisement parce que le maintien de l'ordre social veut qu'un braillard ne reste pas, comme partout ailleurs, accroché jour et nuit au sein de sa mère, au bras de ses tantes, à la tempe de ses oncles – de traumatisme plus terrible à se mettre sous le cerveau que celui de Cécile Münch : l'effondrement d'un pont de chemin de fer suisse construit par le même centralien qui fit dresser en bordure de Seine ce grotesque clou d'Exposition Universelle planté dans le coeur des peuples noirs auquel le poète Tansi, dans La troisième France, réserve deux vers définitifs : « Tu mens la Seine/Tu mens la Tour Eiffel ».

Ethnographic documentary is a distinct genre in the field of documentary. It began as a need for filmmakers to invent a new way to reconcile with the real and at the same time as a need for social anthropologists to find a new ethnographic tool.
The definition of the genre dates back to the early 1960s, when about two revolutionary documentaries appeared in the same period, one in America and the other in France. Direct cinema and cinema verité reacted to the film's opaque methodology of approaching the main subject while sharing the logic of a more "direct" and "true" encounter with their issues.
Chronicle of a Summer, Le joli Mai, Don't look back and Salesman, films discussed in this text, are typical examples of these pioneering currents presenting substantial differences in the logic of the approach to the subject, the type of cinematography, and the montage techniques used by their creators.

In their quest for “truth” and a “cinema of brotherhood,” Rouch and Morin did run the risk of certain ethical breaches in their treatment of their subject-character-actors.  In particular, the subject-character-actor of Marilou becomes at once reduced to a representation – that the filmmakers have pre-determined for her, and cinematically violated, in the manner of the filmic approach to evoking and portraying her “confession.”

My review essay of Jean-Luc Godard's profound, passionately detached audiovisual work <Le livre d'image>(2018/2019) aka <The Image Book>. 

In contradistinction to the tempting yet rather conventional attempt to recycle the idea of 'archive' along the lines of <Histoire(s) du cinéma>, I chose to render manifest the lush legacy of Jean Rouch whose pioneering attempt at 'Ethno-fiction' is here recalibrated- in conjunction with Yervant Gianikian & Angela Ricci Lucchi's 'archeological probe'- in the midst of the Arab Spring's bitter aftermath and global islamophobia- or, the so-called 'the global civil war.'

* The original title of this essay when I contributed it was: <Future of 'Le Petit Soldat' and 'War Game', or Coughing of an 'Ardent Hope'>.

원래 편집부에 보낸 원고의 제목은 <‘소년병’과 전쟁놀이의 미래,  또는 ‘열렬한 희망’의 기침>이었다.

Jean Rouch (1917-2004) es una referencia ineludible en la historia del cine etnográfico.
Especialista en los rituales de posesión en África del oeste y claramente influenciado por el cine de Flaherty y de Vertov, Rouch desarrolló un método y una teoría cinematográfica que se oponían frontalmente a los principios del positivismo científico así como a las teorías objetivistas del cine etnográfico. Más concretamente, Rouch puso en práctica durante su trabajo de campo una “antropología compartida”, basada en una concepción no jerarquizada de las relaciones entre el antropólogo y la comunidad estudiada, y situó la idea de “reflexividad” como eje principal del conocimiento científico y del cine etnográfico.
Crítico con la clásica distinción entre arte y ciencia, el director francés siempre reivindicó la creatividad, la experimentación y la libertad de estilo como puntos esenciales de la investigación etnográfica.

Visual History. Rivista internazionale di storia e critica dell’immagine, N° 2, 2016.

Visual anthropology is based on the idea that the camera and the sound recording produce a non-discursive knowledge accounting for complex phenomena from reality that no textual analysis can render. In this article the works and the working methods of the French filmmaker and anthropologist Jean Rouch (1917-2004) exemplify a redefinition of anthropology in the colonial context thanks to the tool of the camera. The consequences of which go beyond the realm of the social sciences to influence the art world.

One of the most important driving forces in the development of ethnographic film and its theory has been reflexivity. As a cinematographic and theoretical device, reflexivity is put forward by epistemological and ethical concerns in ethnographic filmmaking, and has shaped the genre of ethnographic film. Reflexivity, and particularly its limits, constitutes a very particular pivotal point of the shift from Western ethnographic film to indigenous film, a shift characterized both as disruption and as continuity. We will briefly recapitulate how the corpus of ethnographic film has dealt with its own problems and how it ultimately recycles indigenous film in its own paradigm. The best example to illustrate ethnographic cinema's “reflexive turn” as well as its problems can be found in the work of the ethnographic filmmaker Jean Rouch (1917–2004) and his relation to African cinema; and in the reaction of African filmmakers to Rouch's work. How does this “indigenous cinema” offer productive challenges to the assumptions of the genre of ethnographic film?

Critical reading on the Senegalese filmmaker Safi Faye is scarce, on her embodiment of different shifts in ethnographic film or on her relationship with Jean Rouch’s work; but her oeuvre is now seen as an important case in the complex relationship between African cinema and ethnography. Safi Faye pioneered in two important respects. First, after being filmed by Rouch and so participating in his ethnographic method, she became an ethnographic filmmaker herself, and her insider position as a filmmaker in her own Serer community employs an observational style. Comparing their respective film styles reveals the questions of alterity, which inevitably remain at the center of representation. Secondly, her last film [Mossane, 1996] already exemplified the move from ethnographic cinema to fiction. In this film about a girl who resists her parents’ will, Safi Faye challenges the “ethnologizing gaze” on Africa while remaining embedded in her culture. She thereby forces another look at “African cinemas” in their creative contexts and their theoretical implications for media ethnography.

What happens when a commitment to collaborative ethnographic filmmaking runs up against a community’s ambivalence towards its own history? This paper provides an ethnohistorical account of the making of the film Please Don’t Beat Me, Sir!, exploring how colonial-era “police ethnographies” and contemporary communal politics shape the collaborative endeavor. The film was made in collaboration with Budhan Theatre, an activist theater troupe from the Chhara community in the Indian city of Ahmedabad, Gujarat. The Chhara are one of more than 198 communities labeled as “Criminal Tribes” by the British, a colonial legacy that still informs their interactions with the police. Inspired by the work of Jean Rouch, the film makes use of experimental ethnographic and cinematic techniques. These participation frameworks allowed the members of Budhan Theatre and their families to shape the structure and content of the film itself, a process sometimes at odds with the film’s ethnographic intent.

Resumo: O artigo discute as relações travadas por Jean Rouch e Glauber Rocha, e propõe uma abordagem comparativa de seus respectivos projetos cinematográficos, concentrando sua argumentação em quatro aspectos: a dimensão teatral de sua mise en scène, a oralidade como matriz de suas bandas sonoras, o discurso indireto livre ao qual os dois recorrem e o estatuto da religiosidade (do transe em particular) no cinema de cada um.

Abstract: This essay discusses the relations between Jean Rouch and Glauber Rocha, and draws a general comparison of their cinematographical works, concentrating its argument on four aspects: the theatrical dimension of their mise en scène, the orality as a source of their soundtrack, the free indirect discourse to which they appeal, and the status of the religiosity (specially of the trance) in some of their films.

Résumé: L’article discute les rapports entretenus par Jean Rouch et Glauber Rocha, et propose une approche comparative de ses respectifs projets cinématographiques, en concentrant son argumentation sur quatre aspects: la dimension théâtrale de leur mise en scène, l’oralité comme matrice de leur bande sonore, le discours indirect libre auquel les deux font appel, et le statut de la religiosité (notamment de la transe) dans le cinéma de chacun.

This article examines the important yet overlooked 1965 omnibus film Paris vu par… (Paris Seen by…, a.k.a. Six in Paris), a transauthorial production bringing together the individual contributions of directors Claude Chabrol, Jean-Luc Godard, Eric Rohmer, Jean Rouch, Jean Douchet, and Jean Daniel Pollet. Like Paris, Je t’aime (2006) forty years after it (albeit on a very different scale), each episode of this film is set in a different section of the French capital, introduced by way of expository captions identifying the various locales and names of the filmmakers. Inspired by the writings of Walter Benjamin, Tom Conley, and Naomi Schor, the author examines how the six constituent parts of Paris vu par… crystallize various facets of French life scattered across the map of Paris, thus imparting a sense of representational wholeness despite the film’s metonymic slippage into modularity. In looking at the ways in which the topographical and sociopolitical ingredients of this film relate to aesthetic and narratological elements, the author seeks to draw out similarities between the idea of people as social clusters and the concept of narrative communities, attracting the reader’s eye to their spatial relations (as collections) while foregrounding the salient features of ‘postcard cinema’.

I will begin by addressing the magical dimension of the image, starting with the studies of Paleolithic parietal art and establishing a dialogue with the cinematic images, understood as survivals of the ecstasy of the ritual crossing worlds. I start with archaeological studies that understand parietal art as essentially shamanic. Secondly, I aim at putting the hypothesis of cinema as a ritual crossing of worlds into dialogue with the so-called "cinema of the forest,"  a formulation that establishes a relationship between the visions instigated by hallucinogenic plant consumption and the overall experience of cinema. I problematize this utterance following Kopenawa's statement that cinema is a dream, as well as the conceptualization of image in "A queda do"céu"—more complex and embracing movements that the "cinema of the forest" does not allow to glimpse. In a third moment, the shaman and the camera are approached as borderline vehicles passing between worlds, in conjunction with the notion of ciné-trance.  In the final part of this paper, which is certainly more of a beginning than a conclusion, I introduce the conception of the cosmos as a cinematographer, pointing to a terrain where the reflection about the image, cinema, and the shamanic experience, in the time of dream or of yãkoana, can continue to be complexified.

En una mesa del Café Bullier en Montparnase, comienza una de las primeras escenas del documental Mosso Mosso, Jean Rouch comme si (Francia, 1997, 73 min) de Jean-André Fieschi. Recordando a su amigo Marc Piault y los sucesos de mayo del 68, Rouch describe una regla que aprendió entre los dogon y se convirtió en su norma de vida: hacer “como si”

Quando foi necessário produzir um filme etnográfico para uma disciplina do curso de Ciências Sociais, eu e meu grupo fizemos a escolha de nos deixar levar por nossos interlocutores. Foi somente após exibição do filme, com as reações e os comentários que se seguiram, que pudemos entender melhor o que havíamos feito. Mas, afinal, o que se destacava mais no filme como um todo? A resposta nos foi dada por professores e colegas: a Antropologia Compartilhada. Se para nós, o grupo do filme, deixar-nos guiar pelas pessoas que encontrássemos era a única opção satisfatória, cabe a mim, neste trabalho, dissecar essa opção, problematiza-la, e trazer para o texto os antropólogos e cineastas que tiveram papel fundamental em seu desenvolvimento. Não tenho, de fato, um problema teórico ou uma pergunta norteadora. Há, porém, uma experiência em campo que culminou em um filme cujo processo se mostrou digno de reflexão. Portanto, seja qual for o problema, ele está, neste caso, intrinsecamente ligado a uma discussão metodológica. Pretendo, neste trabalho, pensar esse modo de fazer antropologia, expondo reflexões sobre meus próprios dados a partir do material de leitura escolhido sobre o assunto. Este trabalho, portanto, não tem uma única e grande questão como foco, mas várias questões que, juntas, expõem e reforçam várias das incertezas que encontramos quando falamos sobre filme etnográfico. Sua relação com a etnografia escrita, com outros tipos de documentários, com uma “verdade científica”. Suas qualidades e limitações, divisões internas, atributos, escolhas técnicas e conceituais; sua contribuição para a disciplina. E por detrás destas incertezas sobre o filme etnográfico, reside ainda um outro plano: o dos limites e possibilidades da etnografia em relação à disciplina antropológica.

Nous abordons la notion de collection comme une mise en forme singulière de la matière et du mouvement en nous référant aux travaux de Georges Simondon, Gilles Deleuze, Dziga Vertov, Aby Warburg, Jean Rouch et Lev Manovich. Les concepts d’image-temps et d’image-mouvement, proposés par Gilles Deleuze, nous conduisent à étendre la notion de collection aux images animées et à leur mise en scène. Un logiciel d’application, conçu par Benjamin Roadley, a favorisé une mise en forme analytique de quelques séquences extraites de deux films réalisés par Jean Rouch, Moi un Noir et le Dama d’Ambara. Tout en nous permettant de mettre à l’épreuve notre appréhension de la collection, une nouvelle appropriation de l’œuvre de Jean Rouch et de son empreinte sur le monde se révèlent et nous incitent à aborder le processus de modélisation, offert par les technologies numériques, comme une relation privilégiée à l’imaginaire, à la création et à leurs impacts sur l’épistémologie des connaissances en sciences humaines.

In the wake of a recent, short retrospective of John Cassavetes and Shirley Clarke at Seoul Art Cinema, I was asked to contribute an article.

After mulling over for a while, I decided to narrow down my initial, avowedly grandiose scale down to 'notes' on <Shadows>(1959) and <Faces>(1968), two of his early, powerful, electrifying and often hypnotic films. 

While I draw on Godard and Deleuze, along with Jean Rouch, toward the end of the piece, I note how his films no less strikingly resonate with <Titicut Follies>(Frederick Wiseman, 1967) and <Portrait of Jason>(Shirley Clarke, 1967) in terms of 'performative documentation/documentary' or 'documentary of performace.' Rhyming with Deleuze, I draw attention to grave implications of these volatile faces and bodies, whose precarious, mercurial states steadfastly ask if we have faith in them as sheer surfaces and, by extension, the world.

Note: In retrospect, this essay partakes of my decade-long fascination with and reflections on the genealogy of 'face as sur-face' in contemporary art and culture, a topic to which two of my scholarly articles readily suscribe, along with a long overdue article on contemporary Korean cinema. One day I hope I can turn them into a separate book on its own.

Visual / Sensorial Anthropology holds a curious position within in the home of the social sciences that it grew out of. And like a rebellious teen breaking free of the parental ties, a fixation of redefining a scope of identity has claimed much of the discipline’s efforts. However this point of distinction cannot be trivialized, for at its core the dilemma of political and ethical consequences of representation, are exposed with a characterized depth. The point of significance here in the question of ethics, pertains to the inherent nature of critically engaging with a medium without a focus on the cultural context within which engaged. And this lay as the missing link in body of literature of the discipline, whereby when we develop an ethical code(s) for visual / sensorial anthropology, we do not merely need to address the overarching points of ownership and representation in context that hinder all film, but so too we need to ask, ethics according to whom?

En 1980, Jean Rouch est invité par Robert Gardner à l’émission de télévision « Screening Room », à Boston. Rouch a présenté ses films trois ans auparavant au premier Margaret Mead Film Festival de New York, mais c’est la première fois que les téléspectateurs améri- cains de cette chaîne locale de Boston peuvent découvrir son œuvre à la télévision. Cette même année, Rouch est à Harvard, dans le cadre d’une université d’été qui le verra revenir régulièrement à Cambridge jusqu’en 1986. À partir de ses archives personnelles, cet article tente de retracer sa rencontre et ses échanges avec les anthropologues et étu- diants de Harvard, et se penche sur l’héritage aussi bien artistique que pédagogique et institutionnel de Rouch dans le champ de l’anthropolo- gie visuelle à Harvard aujourd’hui, en particulier à travers les travaux du Sensory Ethnography Lab.

In 1980, Robert Gardner invited Jean Rouch onto the set of the TV show « Screening Room », in Boston. For the first time, an American audience saw Rouch’s films on a local TV channel, although Rouch had already been introduced at New York’s first Margaret Mead Film Festival three years before. That same year, in 1980, Rouch went to Harvard’s Summer School, in the first of a series of visits which would continue until 1986. This article traces these various exchanges between Rouch and the anthropologists and students of Harvard. It also considers Rouch’s artistic, institutional and educational legacy for the field of visual anthropology at Harvard today, particularly through the example of the Sensory Ethnography Lab.

Tandis que dans les années 1940 Jean Rouch et Maya Deren s’attachaient aux phénomènes de possession pour élaborer, plus qu’une stratégie de tournage, une esthétique ritualiste du film, les anthropologues du Sensory Ethnography Lab à Harvard ou le cinéaste Ben Russell poursuivent aujourd’hui cette veine de la ciné-transe en l’inscrivant, à la suite de Robert Gardner, dans les mondes
confluents de la performance, du cinéma expérimental et de l’anthropologie sensorielle.

Depuis 1912, innombrables textes – romans, radio shows, bandes dessinées, séries de télévision, films – ont produit et articulé représentations de l’Afrique dans histoires dont le protagoniste est Tarzan, créé par l’étasunien Edgar Rice Burroughs (1875-1950). En prenant le nom « Afrique » comme référence, les textes qui orbitent et habitent le nom « Tarzan » appartiennent à une généalogie occidentale et à une histoire transculturelle. Après aborder l’économie de la marque « Tarzan » dans sa circulation globale, une description bref et schématique de la filmographie de Tarzan me permet d’interroger ce que j’appelle nomenclôture occidentaliste de l’Afrique. Finalement, par le moyen d’une lecture attentif de Moi, un noir (Jean Rouch 1959) comme un prisme à travers lequel la circulation globale de Tarzan peut être interprétée et réinventée, je suggère des possibilités de débordement imaginative, en ouvrant l’espacement transculturel de l’écriture de l’Afrique comme économie politique du nom « Afrique ».

Resumo: A teoria de André Bazin e os filmes de Jean Rouch sustentam o eixo de reflexão deste artigo. Nos anos 1950-1960, o plano-seqüência encarnou ao mesmo tempo um desafio técnico e a defesa de um modo de representação realista. Aqui ele é entendido como uma política da imagem capaz de explodi-la em fragmentos e realizar combinações que não rompem com a política defendida.
Palavras-chave: Análise fílmica. Jean Rouch. Plano-seqüência. Política da imagem. Documentário.

Abstract: This study analyzes four Jean Rouch’s films produced between the 1950s and the 1960s and the theory of André Bazin. The general purpose of this study is to understand how the plan-sequence may configure a politics of the image.
Keywords: Film analysis. Jean Rouch. Plan-sequence. Politics of the image. Documentary.

Résumé: Cet article a pour but d’analyser le plan-séquence à la lumière de la théorie de André Bazin et des films de Jean Rouch. Aux années 1950-1960, le plan-séquence a été à la fois une technique et un symbole du mode de représentation réaliste. On le comprend ici dans sa dimension politique.
Mots-clés: Analyse filmique. Jean Rouch. Plan-séquence. Politique de l’image. Documentaire.

O objetivo desse artigo é discutir a influência do cinema de Jean Rouch nas produções audiovisuais contemporâneas, tomando por estudo de caso a trajetória e cinematografia de Adirley Queirós, cineasta
da Ceilândia, situada na periferia da capital federal brasileira. A análise estrutura-se em torno das narrativas do cineasta sobre seu primeiro longa-metragem A cidade é uma só? (2012) que colocadas à
luz de questões como potência do falso e vontade de verdade, fabulação e construção do real, revelam ambiguidades e arbitrariedades nas classificações que oscilam entre ficção e documentário. Com uma
abordagem sobre o lugar do sujeito fílmico e as relações de alteridade que permeiam seu processo de realização audiovisual, Adirley descreve o uso de táticas de reconhecimento por parte de cineastas, na
relação com burocratas, público e curadores e constrói sua própria fábula cinematográfica.

Começarei por abordar a dimensão mágica da imagem, a partir dos estudos da arte parietal paleolítica, colocando-a em diálogo com as imagens cinematográficas, entendidas como sobrevivências do êxtase da travessia ritual de mundos. Para esta formulação, parto sobretudo dos estudos arqueológicos  que entendem a arte parietal como sendo essencialmente xamânica. Num segundo momento, pretendo colocar em diálogo a hipótese do cinema como travessia ritual de mundos com o chamado “cinema da floresta” , em que se estabelece uma relação entre as visões suscitadas pelo consumo de plantas alucinógenas e a experiência geral do cinema. Problematizo este enunciado partindo da afirmação de Kopenawa de que o cinema é sonho, bem como do entendimento da imagem em A queda do céu -muito mais complexo e abarcando movimentos que o “cinema da floresta” não permite vislumbrar. Num terceiro momento, o xamã e a câmara são abordados como veículos transfronteiriços de passagem entre mundos, em articulação com a noção de ciné-transe.  Na parte final deste texto, que certamente constitui mais um início do que uma conclusão, detenho-me na concepção do cosmos como um cinematógrafo, apontando para um terreno onde o pensamento sobre a imagem, o cinema e a experiência xamânica, no tempo do sonho ou da yãkoana, possa continuar a complexificar-se.

Resumo: Ao contrário de uma lógica que divide o mundo entre humanidades subjetivas e uma natureza objetiva universal, pensamentos ameríndios nos trazem novas formas de ver relações entre humanos, animais e seus outros, e entre visível
e invisível. O olhar e a escuta assumem dimensões relacionais no xamanismo, nas caçadas, nas pescarias e também no cinema. A partir dessa chave, examinando alguns filmes em que a pesca aparece, especialmente entre o povo indígena Maxakali, aproximamos a atitude do cineasta-etnógrafo àquela de um pescador.
Palavras-chave: Documentário Etnográfico. Maxakali. Filme-Ritual. Filme-Pesca.

Abstract: Unlike a logic that divides the world between subjective humanities and a universal objective nature, Amerindians thoughts bring us new ways of seeing relations between humans and animals, and between visible and invisible. The exercises of seeing and hearing assume relational dimensions in shamanism, in hunting and fishing, and also in the cinema. From this key, by examining cases where fishing appears in some films, especially among the indigenous people Maxakali, we approach the attitude of the director-ethnographer to a fisherman.
Keywords: Ethnographic documentary. Maxakali/Tikmu’un. Ritual-film. Fishing-film.
Résumé: Contrairement à une logique qui divise le monde entre les humanités subjectives et une nature universelle objectif, certaines pensées amérindiens nous apportent des nouvelles façons de voir les relations entre les humains, les animaux
et leurs autres, et entre le visible et l’invisible. Le regarde et l’écoute gagnent dimensions relationnelles dans le chamanisme, la chasse et la pêche, ainsi que dans le cinéma. À partir de cette clé, en examinant quelques films où l’activité de la pêche apparaît, en particulier parmi les populations autochtones maxakali, nous
approchons l’attitude du cinéaste-ethnologue à celle d’un pêcheur.
Mots-clés: Documentaire ethnographique. Maxakali/Tikmu’un. Film-rituel. Film-pêche.

Resumo: Republicado neste volume em sua versão mais completa e desenvolvida, o artigo discute as relações travadas por Jean Rouch e Glauber Rocha, e propõe uma abordagem comparativa de seus respectivos projetos cinematográficos, concentrando sua argumentação em quatro aspectos: a dimensão teatral de sua mise en scène, a oralidade como matriz de suas bandas sonoras, o discurso indireto livre ao qual os dois recorrem e o estatuto da religiosidade (do transe em particular) no cinema de cada um.
Palavras-chave: Jean Rouch. Glauber Rocha. Teatralidade. Oralidade. Discurso indireto livre. Transe.

Abstract: Republished in this book in its most complete and developed version, this essay discusses the relations between Jean Rouch and Glauber Rocha, and draws a general comparison of their cinematographical works, concentrating its argument on four aspects: the theatrical dimension of their mise en scène, the orality as a source of their soundtrack, the free indirect discourse to which they appeal, and the status of the religiosity (specially of the trance) in some of their films.
Keywords: Jean Rouch. Glauber Rocha. Theatrality. Orality. Free indirect discourse. Trance.

Résumé: Republié en ce volume dans sa version la plus complète et développée, l’article discute les rapports entretenus par Jean Rouch et Glauber Rocha, et propose une approche comparative de ses respectifs projets cinématographiques, en concentrant son argumentation sur quatre aspects: la dimension théâtrale de leur mise en scène, l’oralité comme matrice de leur bande sonore, le discours indirect libre auquel les deux font appel, et le statut de la religiosité (notamment de la transe) dans le cinéma de chacun.
Mots-clés: Jean Rouch. Glauber Rocha. Théâtralité. Oralité. Discours indirect libre. Transe.

This article presents an analysis of the performatic and bodily dimension of Oumaru Ganda's and Pe-tit Touré's characters in Moi, un noir, by Jean Rouch (1958). More than analyzing camera angles, character speeches and editing, it is proposed to emphasize the interpretation of the performatic dimension, looking at bodily gestures and facial expressions, as well as at Omarou Ganda's and Petit Touré's voice-off impostation. On the one hand, understanding how performatic and bodily dimensions of Ganda and Touré create a particular mise-en-scène enables us to view them as native actors/authors. On the other 1. This article is a longer version of my presentation at the forum termed The Anthropology on Jean Rouch's Cinema: a Tribute, convened by the Visual Anthropology Commission and held during the 31th Brazilian Anthropology Meeting. I thank Izabela Tamaso and Ana Lúcia Ferraz for inviting me to join that centennial tribute to Jean Rouch. I am also grateful to Tatiana Lotierzo for the translation of this article to English. orcid orcid.org/0000-0002-9889-4967