<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842026000102001</article-id>
<article-id pub-id-type="doi">10.21814/vista.7089</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Paisagens Fabulatórias do Deslocamento: Cinema, Alteridade e Cartografia em Chuva É Cantoria na Aldeia dos Mortos]]></article-title>
<article-title xml:lang="en"><![CDATA[Landscapes of Fabulation and Displacement: Cinema, Alterity and Cartography in Chuva É Cantoria na Aldeia dos Mortos]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Rodrigues]]></surname>
<given-names><![CDATA[Júlia Vilhena]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Minho Instituto de Ciências Sociais Centro de Estudos de Comunicação e Sociedade]]></institution>
<addr-line><![CDATA[Braga ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>01</month>
<year>2026</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>01</month>
<year>2026</year>
</pub-date>
<numero>17</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842026000102001&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842026000102001&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842026000102001&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O artigo parte de uma reflexão sobre as experiências de deslocamento e migração no cinema contemporâneo, centrando-se na análise do filme Chuva É Cantoria na Aldeia dos Mortos (2018), de Renée Messora e João Salaviza. Partindo do conceito de &#8220;fabulação&#8221;, formulado por Gilles Deleuze, discute-se de que modo as práticas cinematográficas realizadas em contextos de desterritorialização mobilizam-na como gesto criativo, que emerge do encontro com a alteridade e da abertura a outras temporalidades, afetos e epistemologias. A análise do filme enfatiza o seu processo de criação, marcado por uma convivência prolongada entre os realizadores e a comunidade indígena krahô, no Tocantins, que resulta em um modo ritualizado e colaborativo de filmar. Nesse contexto, o deslocamento figura como condição constitutiva da forma fílmica, do olhar e das relações intersubjetivas que sustentam o filme. Em diálogo com o conceito de &#8220;espaço diaspórico&#8221;, proposto por Avtar Brah (2005), argumenta-se que o filme constrói um espaço relacional, no qual fronteiras são constantemente negociadas, tanto para os realizadores quanto para os personagens. Por fim, o artigo propõe uma aproximação do filme e do método cartográfico, entendendo a obra como uma prática de mapeamento sensível, baseada no agenciamento coletivo. Defendese que a cartografia oferece ferramentas conceituais fecundas para acompanhar práticas cinematográficas colaborativas, nas quais sujeito e objeto emergem conjuntamente e onde o cinema se afirma como espaço de produção do comum e de reconfiguração dos modos de estar no mundo.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article reflects on experiences of displacement and migration in contemporary cinema, focusing on the film Chuva É Cantoria na Aldeia dos Mortos (The Dead and the Others; 2018), directed by Renée Messora and João Salaviza. Drawing on Gilles Deleuze&#8217;s concept of &#8220;fabulation,&#8221; the discussion examines how cinematic practices developed in contexts of deterritorialisation mobilise fabulation as a creative gesture emerging from encounters with alterity and an openness to other temporalities, affects, and epistemologies. The analysis emphasises the film&#8217;s creative process, characterised by a prolonged coexistence between the filmmakers and the Krahô Indigenous community in Tocantins, resulting in a ritualised, collaborative mode of filmmaking. Within this context, displacement appears as a constitutive condition of film form, the gaze, and the intersubjective relations that sustain the film. In dialogue with the concept of &#8220;diasporic space&#8221;, proposed by Avtar Brah (2005), it is argued that the film constructs a relational space in which boundaries are constantly negotiated, both for the filmmakers and for the characters. Finally, the article proposes an approach linking the film to the cartographic method, understanding the work as a practice of sensitive mapping grounded in collective assemblage. Cartography is therefore regarded as providing fertile conceptual tools for tracing collaborative cinematic practices in which subject and object co-emerge, and where cinema functions as a space for the production of the common and the reconfiguration of modes of being in the world.]]></p></abstract>
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<kwd lng="pt"><![CDATA[cinema contemporâneo]]></kwd>
<kwd lng="pt"><![CDATA[fabulação]]></kwd>
<kwd lng="pt"><![CDATA[deslocamento]]></kwd>
<kwd lng="pt"><![CDATA[cartografia]]></kwd>
<kwd lng="en"><![CDATA[contemporary cinema]]></kwd>
<kwd lng="en"><![CDATA[fabulation]]></kwd>
<kwd lng="en"><![CDATA[displacement]]></kwd>
<kwd lng="en"><![CDATA[cartography]]></kwd>
</kwd-group>
</article-meta>
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