[pt] O cinema brasileiro contemporâneo tem produzido comunidades de cinema, segundo pesquisadores que abordaremos no trabalho. Essas comunidades de cinema organizam diversos processos de constituição da visibilidade cinematográfica daqueles que se encontram desfavorecidos nas lutas nos sistemas de representações. De acordo com o teórico Jean-Louis Comolli, tais lutas são a própria forma das lutas sociais e políticas, e são responsáveis por estabelecer sua visibilidade. Assim, esta dissertação busca indagar como o documentário recente tem dado voz e imagem aos adolescentes – seu rosto, seus gestos, corpos e falas. Esses meninos e meninas adquirem, através do cinema, uma inesperada posição, que lhes permite tornar visível o que não era visto. Para desenvolver o estudo, este trabalho analisa os filmes A Vizinhança do Tigre (2014), de Affonso Uchôa, Um Filme de Verão (2019), de Jô Serfaty, e Espero Tua (Re)volta (2019), de Eliza Capai. / [en] Brazil s contemporary cinema has been producing communities of cinema, according to researchers we are approaching in this study. These cinema communities manage to organize different cinematographic visibility processes to those who find themselves in disadvantage in the representation system s disputes. According to theorist Jean-Louis Comolli, those disputes are the social and political disputes proper form, and responsible for establishing their visibility. Therefore, this work intends to inquire how recent documentaries are giving voice and image to the adolescents – their faces, their gestures, bodies and speeches. These boys and girls acquire, through cinema, an unexpected position, that enables them to make visible what was once unseen. In order to develop the study, this work analyzes the films A Vizinhança do Tigre (The Hidden Tiger, 2014), by Affonso Uchôa, Um Filme de Verão (Sun Inside, 2019), by Jô Serfaty and Espero Tua (Re)volta (Your Turn, 2019), by Eliza Capai.

Free Jazz/ Black Power was written by French journalists Philippe Carles and Jean-Louis Comolli, and published in 1971 in France. It offers a post-colonialist Marxist critique of African American free jazz of the 1960s and presents the argument that the existence of free jazz and its musical characteristics are a result of the long history of oppression that African Americans have faced in the United States. The present work presents the first English language translation of the Introduction and Part III of the book. The introduction to the translation looks at the history of jazz in France and particularly the French critical response to free jazz in the 1960s. The translation of the Introduction and Part III of Free Jazz/ Black Power immediately follows an extended essay on linguistic, historical, and cultural problems encountered in the process of translation.