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On 11 June 2014, on the eve of the 2014 FIFA World Cup in Brazil,the feature-length version of crowdfunded Brazilian webdocumentary (1)Dominio Publico (Public Domain) (Mota, Vidal and Ligeiro, a.k.a. PaebiruRealizacoes Cultivadas, 2014) had its premiere at an outdoor screening nextto the Arcos da Lapa viaduct in downtown Rio de Janeiro. The film's 2042crowdfunders, who had supported the collectively-made film to the tune of106,221 (2) Brazilian reais (equivalent to just over [pounds sterling]32,000at the time) during a 2012 campaign on the Brazilian crowdfunding websiteCatarse, received rewards ranging from inclusion in the credits to links forearly or extra downloads, a t-shirt, a poster and original artwork. Threedays later, the webdocumentary was released first on YouTube, (3) and then onVimeo, (4) with the exhortation to share it as widely as possible, withoutrestrictions: 'Baixem, copiem, e exibam!' ('Download it, copyit, screen it!') (Paebiru Realizacoes Cultivadas n.d.). (5) By earlyJuly, the filmmakers had made available subtitles in English and Spanish;French, Italian and Portuguese later followed, the latter with the goal ofmaking the film as accessible as possible. Since then, screenings of thefeature-length version of Dominio Publico have been organized in Rio,elsewhere in Brazil, and in other countries including the United Kingdom,Austria and Switzerland. It has also been watched close to 100,000 times onYouTube/Vimeo. (6) More than just a film, this is a self-proclaimed'documentary project' (Coffmann 2014: 112) encompassing a varietyof audio-visual materials, profiles and content on social media platforms, adesignated hashtag (#DominioPublico) and a circulation strategy straddlingdigital and audio-visual culture. As this article will show, the relatedconcepts of circulation and visibility were embedded in the project from theoutset and became part of its critical narrative on urban transformations.

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As already mentioned, the digital audio-visual material producedby Dominio Publico is freely available online, and is often accompanied bytext explicitly encouraging its free and wide use and circulation. The titlerefers to freedom of access, without restriction or copyright, but itsattachment to a film about urban transformations points to how the samephilosophy of openness and visibility informs the approach to the subjectmatter. The connection between the digital and urban contexts also recurs intext accompanying a promotional short video for the film, (15) used in thecrowdsourcing effort, which featured the singer BNegao, himself known for hissupport of copyleft approaches to cultural production (Silva and Paz 2012).The text in question playfully links the removals associated with themega-events in Rio, part of Dominio Publico's subject matter, to thecensorship and removal of contentious content online, a potential hazard fora project like Dominio Publico: 'Esse filme investiga, denuncia e podeser removido. Assista ja! Se nao removerem o video, podem remover voce!'('This film investigates, denounces, and could be removed. Watch it now!If they don't remove the video, they might remove you!'). In March2017, this 'extra' video had 22,900 views on YouTube, furtherevidence of the reach of the Dominio Publico project, in all itsmanifestations.

As mentioned in the introduction, the release of the full film onYouTube and Vimeo in June 2014 was accompanied by an exhortation to watch thefilm online, but also to download it and screen it; this was helped by thefilm being put on Torrent. The popularity of physical screenings of the filmmay also be, in part, due to its length (it is about one and a half hourslong) and to the desire to make the film as widely available as possible,including to residents of favelas. As Fausto pointed out (Mota, 8 September2014, interview), there are downsides to the Internet as a distributionchannel. Watching a feature-length film on a computer or handheld screen cancertainly be awkward, but there are also inequalities in Internet access thatmight make it harder for certain social groups to do this, such as favelaresidents. The filmmakers themselves had difficulty when uploading thefinished film to YouTube in June 2014, due to its size.

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