ABSTRACT
The purpose of this chapter is twofold. First, it seeks to document the already very rich and well-developed tradition of hybrid modes of participatory filmmaking in the contemporary period in Brazil, looking both at the work of more ‘mainstream’ filmmakers such as Eduardo Coutinho, and also at film projects that involve marginalised and less represented groups, such as remote indigenous communities and black people, in different forms of political and cultural resistance. This documenting serves to contextualise the second part of the chapter: a description of the process and reflection upon the results of a participatory filmmaking project involving a group of young women from Brazil’s northeast region, and specifically Codó, a municipal district which arguably faces triple-weighted prejudice within Brazil’s national imaginary, by being settled on an old quilombo, or maroon, community, by having a majority black population and by being a centre of Afro-Brazilian religious practices.
