Film Editing Tendencies in Sergio Bravo’s Filmography
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Abstract
This article examines critical concepts related to Gilles Deleuze’s singular doctrine about fi lm editing, as well as the particular form and meaning of editing techniques developed by Chilean documentary maker Sergio Bravo Ramos throughout his fi lmography. The quality of fi lm editing schools, acknowledged by Deleuze as political aesthetic consciousness, can be recognized in Bravo’s documentaries, and by means of its applications, it is possible to distinguish an oscillation of his rhetoric from the widening of the cultural and social objects inventory in Chilean documentary cinema to artistic experimentation developed from them.
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