This article examines Eduardo Coutinho's Jago de Cenci (2007) in relation to documentary spectatorship across cultures. Coutinho's documentary contains numerous culturally specific and localised references amongst the stories told by a cast of women actors. These stories and the figures that relate them make available a number of layers of knowledge production constituting a filmic experience that is multivalent and complex. In considering these complexities and their spectatorship, this article utilises Paul Willemen's notion of comparative film studies as a springboard to begin a closer consideration of what is possible with a combination of Brazilian cultural knowledge and documentary film theory.
|Title of host publication||Southern Screens|
|Subtitle of host publication||Cinema, Culture and the Global South|
|Editors||Antonio J. Traverso|
|Place of Publication||Abingdon Oxon UK|
|Number of pages||13|
|Publication status||Published - 2017|