The dynamics of cinematic spectatorship in Mebêngôkre-Kayapó indigenous cinema

Abstract

The Mebêngôkre-Kayapó Indigenous people, from the state of Pará, had their first experiences with the camera in the mid-1980s, when they appropriated it for visual and sound recordings of their own culture, thus reshaping certain perceptions of themselves. Since then, they have begun documenting daily life, traditional practices, rituals, and mobilizations from their own perspectives. Furthermore, whenever possible, they have collectively screened their footage within their communities, allowing viewers to express aesthetic judgments about the images they watch. This study aims to explore Mebêngôkre filmmaking by investigating the dynamics of cinematic spectatorship and self-representation in their images, emphasizing how these elements play a constructive role in the final outcome of their films. Spectatorial practices are discussed in relation to the cosmologies of this Brazilian Indigenous people, highlighting the potential of these relationships through reflections and interviews with Mebêngôkre filmmakers. Through this investigation, it is identified that the reception of these film recordings appears to contribute to the construction of a self-image, which is shaped by specific modes of address and spectatorial reading. The article seeks to contribute to the visibility of emerging discussions on spectatorship and reception in Brazilian Indigenous cinema.