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Advisor(s)
Abstract(s)
Naquilo que Laura Rascaroli (2009) designa como cinema subjectivo e Alain Bergala (1988), Jean-Pierre Esquenazi e Alain Gardies (2006) apelidam de cinema do Eu encontramos documentários metacinematográficos, simultaneamente (auto)reflexivos e sobre o
cinema em geral. Nesta categoria, o hibridismo formal e de conteúdo faz-se sentir sobretudo
no Filme-ensaio e no Auto-retrato que mostram o cineasta como um profissional de cinema
em plena actividade. Em ambos os casos existe auto-representação, sendo que o cineasta
se interpreta a si mesmo com contornos autobiográficos. Em algumas situações podemos
desaguar no Filme de Arte Poética (do latim ars poetica) segundo Yannick Mouren (2009),
que manifesta de modo autoconsciente e discursivo a práxis cinematográfica do artista; ou
então no Filme Testamento, uma resenha artística do próprio criador em fim de carreira. O
modo como estes conceitos e práticas se intersectam de forma cada vez mais híbrida, leva-me a defender o conceito de Cine-Grafias, aplicado a formas cinematográficas de escrita,
a um tempo expressivas e voltadas para o Eu do artista. A última longa-metragem de Jean
Cocteau, Le testament d’Orphée, ou ne me demandez pas pourquoi! (1960), será o estudo de
caso em apreço, permitindo-me concluir que as cine-grafias são autênticos documentos –
que atestam de uma existência concreta – não obstante a sua relação com o real ser batente
duvidosa – mas que funcionam prioritariamente como textos.
ABSTRACT - In what Laura Rascaroli (2009) calls subjective cinema and Alain Bergala (1988) and Jean-Pierre Esquenazi & Alain Gardies (2006) label cinema of the self (le cinéma du Je) one finds metacinematic documentaries, both (self-)reflexive and about cinema in general. In this broad category, the hybridity of form and contents is mostly felt in the Essay films and in Self-portraits that convey the director at work as a film professional. In both cases there is self-representation since the filmmaker portrays him- or herself with an autobiogra- phic leaning. Some situations, derived from these, may result in the Poetic Art Film (from the Latin ars poetica), which manifest the artist’s cinematic praxis together with a self-cons- cious discourse on it, as claimed by Yannick Mouren (2009). Or else they result in the Film Testament, an artistic overview undertaken by the creators themselves at the end of their cinematic careers. The way these practices intersect in an increasingly hybrid fashion, leads me to advocate for the concept of Cine-Writings, standing for cinematic writing practices, at once expressive and turned towards the artist’s Self. Jean Cocteau’s last feature film Le testament d’Orphée, ou ne me demandez pas pourquoi! [Orpheus’ Testament, or Do Not Ask Me Why!] 1960), will be the case study analyzed here, enabling me to conclude that cine- -writings are true documents, regardless of their dubious relationship with the real.
ABSTRACT - In what Laura Rascaroli (2009) calls subjective cinema and Alain Bergala (1988) and Jean-Pierre Esquenazi & Alain Gardies (2006) label cinema of the self (le cinéma du Je) one finds metacinematic documentaries, both (self-)reflexive and about cinema in general. In this broad category, the hybridity of form and contents is mostly felt in the Essay films and in Self-portraits that convey the director at work as a film professional. In both cases there is self-representation since the filmmaker portrays him- or herself with an autobiogra- phic leaning. Some situations, derived from these, may result in the Poetic Art Film (from the Latin ars poetica), which manifest the artist’s cinematic praxis together with a self-cons- cious discourse on it, as claimed by Yannick Mouren (2009). Or else they result in the Film Testament, an artistic overview undertaken by the creators themselves at the end of their cinematic careers. The way these practices intersect in an increasingly hybrid fashion, leads me to advocate for the concept of Cine-Writings, standing for cinematic writing practices, at once expressive and turned towards the artist’s Self. Jean Cocteau’s last feature film Le testament d’Orphée, ou ne me demandez pas pourquoi! [Orpheus’ Testament, or Do Not Ask Me Why!] 1960), will be the case study analyzed here, enabling me to conclude that cine- -writings are true documents, regardless of their dubious relationship with the real.
Description
Keywords
Metacinema Filme-ensaio Auto-retrato Autoficção Filme de arte poética Filme testamento Essay film Self-portrait Autofiction Film testament
Citation
Publisher
Universidade da Beira Interior; Universidade Estadual de Campinas