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Advisor(s)
Abstract(s)
O Homem de Ferro é um projeto híbrido e heterogéneo que integra várias fases e dimensões de criação e reflexão em redor de um registo fílmico não-ficcional, realizado entre Outubro de 2011 e Junho de 2018 e iniciado a partir de um compromisso estabelecido entre Rui Ribeiro e Agostinho Ferro (1920-2019), cuja existência quotidiana o cineasta se propõs registar, de acordo com três premissas: ser um trabalho sem termo, a realizar até à morte de Agostinho Ferro; ser um filmar-sem-filme, um registo autónomo na forma e no formato, dispositivo cinematográfico alternativo capaz de promover os materiais de origem ao estatuto de obra; ser o derradeiro projeto de Rui Ribeiro enquanto cineasta.
Na sua concretização, O Homem de Ferro implica a conceptualização a priori de um Arquivo, pensado de origem enquanto forma viva, aberta e em permanente devir, lugar que acolhe o registo fílmico e, em simultâneo, se constitui como medium da sua produção. O projeto contempla, ainda, a organização de uma base de dados a partir da qual o Arquivo pode funcionar como um sistema de criação de enunciados que o expandem e reconfiguram. Essa dimensão generativa assenta numa analogia livre com o modelo de programação orientada a objetos, através da apropriação dos conceitos de ‘classe’, ‘objeto’ e ‘instanciação’. No Arquivo, o registo fílmico funciona como a classe a partir da qual novos objetos podem ser instanciados.
Entre o final do registo e a organização da base de dados, surgiu o presente projeto doutoral, lugar privilegiado de questionamentos e investigações em redor do processo ─ nas suas premissas criativas e na materialidade concreta das suas operações ─ e um veículo de expansão e problematização conceptual do Arquivo, através do estabelecimento de uma linhagem meta-histórica de afinidades com obras e autores que reivindicam um estatuto de autonomia para o registo fílmico.
O Homem de Ferro is a hybrid and heterogeneous project that incorporates multiple phases and dimensions of creation and inquiry revolving around a non-fictional film record, shot between October 2011 and June 2018 and born out of a commitment between Rui Ribeiro and Agostinho Ferro (1920-2019), whose daily existence the filmmaker set out to document, according to three premises: to be an open-ended work, to be carried out until Agostinho Ferro's death; to be a filming-without-film, an autonomous record in both form and format and an alternative cinematographic device capable of fostering the source materials to the status of an artwork; to be Rui Ribeiro's final project as a filmmaker. In its making, O Homem de Ferro implies the a priori conceptualization of an Archive, originally thought of as a living form, a place that houses the film record whilst, at the same time, acts as a medium for its own production. The project also envisages the assembly of a database from which the Archive may operate as a system for creating utterances which expand and reshape it. This generative dimension is based on a free analogy with the object-oriented programming framework, through the appropriation of concepts such as 'class', 'object' and 'instantiation'. In the Archive, the film record acts as the blueprint from which new objects can be instantiated. Between the completion of the record and the database's assembly, this PhD project emerged as a privileged setting for enquiries and research around the process ─ both in its creative premises and in the concrete tangibility of its operations ─ as well as a vehicle for the expansion and conceptual questioning of the Archive, through the establishment of a metahistorical lineage of affinities with works and authors who claim a status of self-sufficiency for film record.
O Homem de Ferro is a hybrid and heterogeneous project that incorporates multiple phases and dimensions of creation and inquiry revolving around a non-fictional film record, shot between October 2011 and June 2018 and born out of a commitment between Rui Ribeiro and Agostinho Ferro (1920-2019), whose daily existence the filmmaker set out to document, according to three premises: to be an open-ended work, to be carried out until Agostinho Ferro's death; to be a filming-without-film, an autonomous record in both form and format and an alternative cinematographic device capable of fostering the source materials to the status of an artwork; to be Rui Ribeiro's final project as a filmmaker. In its making, O Homem de Ferro implies the a priori conceptualization of an Archive, originally thought of as a living form, a place that houses the film record whilst, at the same time, acts as a medium for its own production. The project also envisages the assembly of a database from which the Archive may operate as a system for creating utterances which expand and reshape it. This generative dimension is based on a free analogy with the object-oriented programming framework, through the appropriation of concepts such as 'class', 'object' and 'instantiation'. In the Archive, the film record acts as the blueprint from which new objects can be instantiated. Between the completion of the record and the database's assembly, this PhD project emerged as a privileged setting for enquiries and research around the process ─ both in its creative premises and in the concrete tangibility of its operations ─ as well as a vehicle for the expansion and conceptual questioning of the Archive, through the establishment of a metahistorical lineage of affinities with works and authors who claim a status of self-sufficiency for film record.
Description
Keywords
Registo fílmico Não-ficção Arquivo Instanciação Dispositivo