Resumo

Este trabalho de mestrado prope, a partir de descries etnogrficas produzidas entre o povo Maxakali, um breve exame de sua recente realizao cinematrogrfica no contexto cosmopoltico percebido e produzido durante a formao de cineastas e a realizao de filmes. Tento conciliar uma reflexo a respeito de aes cosmopolticas Maxakali, partindo principalmente das contribuies do antroplogo Renato Sztutman, com entendimentos acerca do cinema como experincia esttica e poltica, conforme nos prope o filsofo Jacques Rancire, e como possibilidade de criao etnogrfica compartilhada, como sugerido pelo etnlogo-cineasta Jean Rouch. O objetivo apresentar uma etnografia dos processos de formao de cineastas e nos quais esses filmes so feitos: os momentos de negociao, elaborao, produo das imagens e dos encontros que essas imagens provocam, nos quais tal tecnologia apropriada por eles em ressonncia com seus prprios modos de pensamento e organizao. Veremos de que modo os pajs e os caciques parecem ter encontrado um lugar que parece sugerir uma ntima aproximao entre linguagens e aes no mbito da poltica, do xamanismo e do cinema. Afinal, o cinema parece apropriado para a experincia de eventos-encontros que se produzem nas aldeias, e para o estabelecimento de novas alianas e trocas de saberes fora delas.

Palavras-chave: Maxakali, Cosmopoltica, Cinema.

Abstract

This work proposes, starting from ethnographic descriptions produced between Maxakali people, a brief analysis of his recent cinematrographic realization in a cosmopolitical context perceived and produced during the formation of filmmakers and production of films. I try to reconcile a reflection on Maxakali cosmopolitics actions, especially starting from the contributions of anthropologist Renato Sztutman, with understandings of cinema as an aesthetic and political experience, as the philosopher Jacques Rancire proposes, and as the possibility of shared ethnographic creation, as suggested by ethnologist-filmmaker Jean Rouch. The objective is to present an ethnography of filmmakers formation and in which these films are made: the moments of negotiation, drafting, production of images and the meetings that these images cause, in which such technology is appropriated by them in resonance with their own ways of thinking and organization. We will see how the shamans and chiefs seem to have found a place that seems to suggest a close approximation between languages and actions under the policy, shamanism and cinema. After all, the movie seems appropriate for the event-encounters experience that take place in the villages, and the establishment of new alliances and exchanges of knowledge out of them.

Keywords: Maxakali, Cosmopolitics, Cinema.