Transubjetividade e autoficção no documentário autoral contemporâneo: uma análise de Olmo e a Gaivota

Abstract

This research proposes an analysis of the enunciation of the documentary Olmo and the seagull (2014), codirected by the directors Petra Costa and Lea Glob, aiming mainly at its ethical dimension, at its way of addressing to the spectator and at the relationship between its filmmakers and its characters, the subjective investment of the two parts in the whole of the film enunciation. With the purpose of determining in which ethical/aesthetical context the film is situated, we look at the documentary history addressing different modes of enunciation and staging and its transformations from the classic to the contemporary documentary, aiming especially at the meanings that emerge in the decade of 1960 with the rising of aesthetics which present ruptures in regards to the traditions of the dominant linguistic structure. We also address the notions of auto-mise-en-scène and the risk of the real by Comolli (2008); the direction/character relationship (Santos Segundo, 2016); and the ethical values that guide the filmmakers’ contact with the viewer. Observing that the film in question mobilizes concepts related to contemporary documentary, we address the concepts of virtualization and transubjectivity in Rezende (2013). In what concerns the enunciation mode and the ethical dimension of the documentary in question, we seek to deepen the understanding of the performative or first-person documentary, in which the film is enframed. The concept of autofiction, which helps us analyze the relationships that are established between the directors and the characters as well as between the work and the viewer, raises questions related to the problem of authorship in contemporary documentary which are fundamental for the debate regarding the genre. Applying the concepts learned to the analysis, we observe how Olmo and the seagull positions itself in a modest and reflective mode in their dialogue with the spectator.