ENUNCIATIVE TESSITURA IN A FILMIC ANALYSIS OF EXPERIMENTAL DOCUMENTARIES

Abstract

Considering the (de)territories of the contemporary production as from its singular characteristics, thus as the interfaces of the languages in their significant materiality, let´s take a model of this production while object of analysis. This article looks for the documentary Tereza (1992), by Kiko Goifman and Caco P. de Souza, and is guided in the shape-peration, of the film, process called: Tessitura. Our theoretical basis anchors in the Semantics of Enunciation from the notions of enunciative scene and places of enunciation from Guimarães (2002), from which seeks weaving relations with discursive concepts as, for example, the notion of Spokesperson (ZOPPI-FONTANA, 1997), author-function from (ORLANDI, 2001) and Imbrication Material (LAGAZZI, 2009). About documentaries, our discussion works mainly on Ramos (2005), addressing us about the notion of subject-of-he-camera. This theoretical anchoring propitiated us an analytical intent in the enunciation and discourse functioning of/in the corpus of analysis.