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O artigo pretende examinar a produção documental brasileira do período silencioso centrada nas cidades de São Paulo e do Rio de Janeiro, submetendo-a a recortes temáticos que transcendem a historiogra fia clássica do cinema brasileiro e que dialogam com a história cultural. Dois traços dominantes serão destacados: (1) a representação de eventos cívicos e espaços monumentais típicos a uma metrópole no Brasil nas primeiras décadas do século XX; (2) a representação dos festejos carnavalescos nas ruas (corsos, desfiles de clubes). Faz o exame rigoroso de um filme, Caça à raposa (1913), de Antonio Campos, a fim de verificar o padrão de ordem visual estabelecido em sua relação com o recorte proposto. This article aims at examining Brazilian documentary production of the silent period, focused in the cities of São Paulo and Rio de Janeiro. This production follows thematic 'cuts' which transcend the classic historiography of the Brazilian cinema and which dialogue with the cultural history of the period. Two dominant traces of this production will be highlighted: (1) the representation of civic events and monumental spaces typical of a Brazilian metropolis of 20th century's first decades; (2) the representationof Carnival on the streets. A more comprehensive analysis of the film Caça à raposa (1913), by Antonio Campos, is carried out with the objective of verifying the filmic visual pattern established in relation to the proposed thematic 'cuts'

Dimensões históricas do documentário brasileiro no período silencioso