The precarious, the inaccurate and the transitory.

From the paradoxes and

conceptual impasses to overcoming by the radical documentary.

O precário, o impreciso e o transitório no documentário. Dos paradogmas e

impasses concetuais à ultrapassagem pelo documentário radical

This paper addresses three conceptual bases on the emergence, displacement

and contemporary configuration of the documentary. In this approach, limits
can perceived in the classic documentary discourse, in visual construction of
the other as something largely dependent on representation strategies. It is
complemented by overcoming, or overtaking, by modalities centered on
procedures that reinforce collaboration and empathy.
Thus, the critique of documentary, in its historiography, turns mainly to the
malaise existing between the image and the visual reality; casting doubt on the
ability of the image to express the visual field of lived experiences in an
“appropriate” way.
The Radical documentary would be a way of pushing Grierson’s canonical
definition of “creative treatment of reality” to the limit. In addition to the
aesthetic treatment of social reality at the “root” of this modern genre, the
processes of creation and the participatory-shared modes of production stress
the documentary genre to the extreme, reframing it in a strategy of overcoming
the domination of subjectivity.