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Advisor(s)
Abstract(s)
Esta pesquisa, realizada no âmbito do mestrado, busca apresentar um mapeamento e
uma reflexão sobre a natureza dos arquivos e seu uso na sociedade contemporânea,
desbravando possíveis rotas para compreensão dos documentos de arquivo enquanto
promotores da constante reconfiguração da história social e da memória coletiva
através do dispositivo audiovisual.
Mais especificamente, buscamos analisar como o dispositivo audiovisual trouxe
questões inéditas para o arquivamento, afinal, os valores de prova dos testemunhos
escritos ganharam novas configurações quando se tornou possível registrar o tempo
histórico pelas imagens e sons em movimento. Documentos imagéticos, com seus
signos próprios, são reveladores de outras formas de enxergar o mundo, não apenas
por serem capazes de revelar certas evidências sobre as condições sociais de
determinado período, ao captar um dado imediato, como também por invadirem o
imaginário social.
Nosso intuito, ao analisarmos a necessidade da conservação das obras e dos
documentos cinematográficos, também é mostrar de que forma os arquivos
audiovisuais podem interagir com o passado, presente e futuro. Temos como objetivo
principal apresentar como os registros audiovisuais, impulsionados pelos preceitos da
história oral, criam imagens testemunhais que colaboram com a memória social e
desafiam a preponderância dos documentos escritos ao incorporar a subjetividade do
interlocutor e, consequentemente, as tensões ao criar e recriar, à sua maneira, o que
denominamos de real. Por meio da confluência entre história oral e o cinema
documental, a relação entre memória e ficcionalização traz para a historicidade novas
profusões de passados a partir das noções de representação e autorrepresentação
diante a câmera.
This research, carried out within the scope of a master's degree, seeks to present a mapping and a reflection on the nature of archives and their use in contemporary society, exploring possible routes for understanding archival documents as promoters of the constant reconfiguration of social history and collective memory through the audiovisual device. More specifically, we seek to analyze how the audiovisual device brought unprecedented issues to the procedures of filing, after all, the proof properties of the written testimonies gained new configurations when it became possible to record historical time with moving images and sounds. Visual documents, with their own signs, reveal other ways of seeing the world, not only because they are able to reveal certain evidences about the social conditions of a given period, when capturing an immediate aspect of the world, but also because they break into the social imaginary. When analyzing the need to preserve cinematographic documents and works, our aim is also to show how audiovisual archives can interact with the past, present and future. Our main objective is to present how audiovisual records, driven by the precepts of oral history, create testimonial images that collaborate with social memory and challenge the preponderance of written documents by incorporating the subjectivity of the interlocutor and, consequently, the tensions when creating and recreating, in its own way, what we call real. Through the confluence between oral history and documentary cinema, the relationship between memory and fictionalization brings to historicity new profusions of the past through the concepts of representation and self-representation before the camera.
This research, carried out within the scope of a master's degree, seeks to present a mapping and a reflection on the nature of archives and their use in contemporary society, exploring possible routes for understanding archival documents as promoters of the constant reconfiguration of social history and collective memory through the audiovisual device. More specifically, we seek to analyze how the audiovisual device brought unprecedented issues to the procedures of filing, after all, the proof properties of the written testimonies gained new configurations when it became possible to record historical time with moving images and sounds. Visual documents, with their own signs, reveal other ways of seeing the world, not only because they are able to reveal certain evidences about the social conditions of a given period, when capturing an immediate aspect of the world, but also because they break into the social imaginary. When analyzing the need to preserve cinematographic documents and works, our aim is also to show how audiovisual archives can interact with the past, present and future. Our main objective is to present how audiovisual records, driven by the precepts of oral history, create testimonial images that collaborate with social memory and challenge the preponderance of written documents by incorporating the subjectivity of the interlocutor and, consequently, the tensions when creating and recreating, in its own way, what we call real. Through the confluence between oral history and documentary cinema, the relationship between memory and fictionalization brings to historicity new profusions of the past through the concepts of representation and self-representation before the camera.
Description
Keywords
Arquivos Audiovisuais Cinema Documental História Oral Memória Testemunho