Abstract
This paper investigates the power of the "dispositif" as a creative and political strategy in contemporary documentary, adopting as object three recent Brazilian movies (Pacific, Rua de mão dupla e Câmara escura). In the analysis, we highlight their aesthetic vitality - the way they confront and suggest alternatives to important problems in documentary tradition -, their points of convergence and divergence, as well as the performances instigated by "the camera effect" in each of them: ambivalent performances that fluctuate between the growing need of exposure and the strong desire of restoring intimacy. Our analytical course starts with a theoretical review of the concept of "dispositif", followed by a study of its application and results in each movie stated.
Keywords:
contemporary documentary; “dispositif"; “camera effect"