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Abstract(s)
As imagens de arquivo são comumente utilizadas no contexto de produção de
filmes documentais de todos os gêneros, entretanto, por vezes queremos contar histórias
em que estes materiais não se fazem presentes ou, se existem, não contam com a presença
do sujeito em questão. Dito isto, este estudo teve como ponto de partida meu caso em
particular, quando entendi que pretendia realizar um filme sobre a história da minha avó
paterna, judia, que deixou a Alemanha no mês de início da Segunda Guerra Mundial,
rumo ao Brasil, e de quem tenho um volume muito pequeno de imagens. Os materiais que
me permitiram saber um pouco mais sobre sua vida, são, em grande parte, cartas e
documentos.
Isto posto, este estudo visa investigar as possíveis formas de representar estes
sujeitos em filmes de cinema subjetivo, o fazendo através de um estudo de literatura
existente. Tal estudo é utilizado para questionar a forma como podemos fazer uso destes
recursos, para contar nossas histórias, por vezes extrapolando limites entre a ficção e a
não-ficção e também com o visionamento de filmes, objetivando reconhecer estes
recursos na prática, e entendendo como eles funcionam. Com isso, foram selecionados
dois filmes: Elena, de Petra Costa (Brasil – 2012) e A Toca do Lobo, de Catarina Mourão
(Portugal – 2015), elencando seus recursos relevantes, tendo em vista o objetivo inicial
do trabalho, utilizados para suprir a ausência do sujeito do filme e analisando como estes
recursos foram empregados e sua função narrativa.
ABSTRACT - Archival images are commonly used in the context of documentary filmmaking across all genres; however, there are times when we want to tell stories where these materials are not available or, if they exist, do not feature the subject in question. With that said, this study began with my particular case, when I realized I wanted to make a film about the story of my paternal grandmother, a Jewish woman who left Germany at the start of World War II, heading to Brazil, and of whom I have very few images. The materials that allowed me to learn a little more about her life are, for the most part, letters and documents. Therefore, this study aims to investigate the possible ways to represent these subjects in subjective cinema, by conducting a literature review. This study is used to question how we can use these resources to tell our stories, at times blurring the lines between fiction and non-fiction. It also includes the viewing of films, with the aim of recognizing these resources in practice and understanding how they work. For this purpose, two films were selected: Elena by Petra Costa (Brazil – 2012) and A Toca do Lobo by Catarina Mourão (Portugal – 2015), highlighting their relevant resources, considering the initial objective of the work, used to compensate for the absence of the film's subject and analyzing how these resources were employed and their narrative function.
ABSTRACT - Archival images are commonly used in the context of documentary filmmaking across all genres; however, there are times when we want to tell stories where these materials are not available or, if they exist, do not feature the subject in question. With that said, this study began with my particular case, when I realized I wanted to make a film about the story of my paternal grandmother, a Jewish woman who left Germany at the start of World War II, heading to Brazil, and of whom I have very few images. The materials that allowed me to learn a little more about her life are, for the most part, letters and documents. Therefore, this study aims to investigate the possible ways to represent these subjects in subjective cinema, by conducting a literature review. This study is used to question how we can use these resources to tell our stories, at times blurring the lines between fiction and non-fiction. It also includes the viewing of films, with the aim of recognizing these resources in practice and understanding how they work. For this purpose, two films were selected: Elena by Petra Costa (Brazil – 2012) and A Toca do Lobo by Catarina Mourão (Portugal – 2015), highlighting their relevant resources, considering the initial objective of the work, used to compensate for the absence of the film's subject and analyzing how these resources were employed and their narrative function.
Description
Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Desenvolvimento de Projecto Cinematográfico - especialização em Narrativas Cinematográficas
Keywords
Documentário Cinema subjetivo Filme-ensaio Elena A Toca do Lobo Documentary Subjective cinema Essay film
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema