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Publication
O Fim da Primavera: Os Arquivos Familiares enquanto Elementos Mnésicos no Documentário Autobiográfico
| Name: | Description: | Size: | Format: | |
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| 11.75 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
O relatório deste projeto teórico-prático, apresenta tanto na composição escrita como no
seu artefacto, uma leitura e pesquisa que gira em torno dos espectros no cinema, com o seu
destaque na não-ficção. Ao longo das páginas ele propõe-nos pensar os arquivos
domésticos, a memória individual e familiar, bem como a pertinência desses mesmos
fantasmas do passado para entender melhor a nossa própria identidade. Dessa mesma
forma, foi necessário aprofundar conhecimentos em torno do documentário autobiográfico,
dos home movies e da etnografia doméstica, da morte e da espectralidade na fotografia e no
cinema. Essa pesquisa aguçasse na análise de seis obras cinematográficas documentais,
autobiográficas e que utilizam o arquivo (e diferentes técnicas) para revisitar memórias e
invocar fantasmas. Os títulos escolhidos são Une Histoire de Vent [1988], de Joris Ivens,
Time Indefinite [1993], de Ross McElwee, As I Was Moving Ahead I Saw Brief Glimpses of
Beauty [2000], de Jonas Mekas, Porto da Minha Infância [2001], de Manoel de Oliveira,
Les Plages d’Agnès [2008], de Agnès Varda, e Elena [2012], de Petra Costa. No entanto,
não é de descurar a presença de outras obras de ficção e de documentário ao longo desta
investigação.
Todos estes pensamentos teóricos e experimentações técnicas são consolidados através da
prática, na curta-metragem O Fim da Primavera. Este filme, documental e autobiográfico,
explora o arquivo familiar da realizadora na casa dos seus avós, ao mesmo tempo que tenta
encontrar o seu falecido avô nas fotografias e cassetes, para alcançar duas despedidas: a da
figura familiar que partiu e a da infância que já se perdeu. E é ao experimentar as técnicas
que foram estudadas no segundo capítulo deste projeto, que a realizadora conseguiu
conviver com os seus espíritos uma vez mais.
Link para visionamento da curta-metragem O Fim da Primavera: https://bit.ly/4n0zAf6
Palavra-Passe: PrimeiraCasa
The report for this theoretical-practical project, presents, both in its written composition and in its artefact, a reading and research that revolves around spectres in cinema, with an emphasis on non-fiction. Throughout its pages, it invites us to reflect on domestic archives, individual and family memories, as well as the relevance of these ghosts of the past in better understanding our own identity. Similarly, it was necessary to deepen our knowledge of autobiographical documentaries, home movies, and domestic ethnography, as well as death and spectrality in photography and cinema. This research focused on the analysis of six autobiographical documentary films that use archives (and different techniques) to revisit memories and invoke ghosts. The titles chosen are Une Histoire de Vent [1988] by Joris Ivens, Time Indefinite [1993] by Ross McElwee, As I Was Moving Ahead I Saw Brief Glimpses of Beauty [2000], by Jonas Mekas, Porto da Minha Infância [2001], by Manoel de Oliveira, Les Plages d’Agnès [2008], by Agnès Varda, and Elena [2012], by Petra Costa. However, the presence of other works of fiction and documentary throughout this research should not be overlooked. All these theoretical thoughts and technical experiments are consolidated through practice in the short film O Fim da Primavera (The End of Spring). This documentary and autobiographical film explores the director's family archive at her grandparents' house, while trying to find her late grandfather in photographs and cassettes, to achieve two farewells: that of the family figure who has passed away and that of childhood that has been lost. And it is by experimenting with the techniques studied in the second chapter of this project, that the director was able to commune with her spirits once again. Link to view the short film The End of Spring (O Fim da Primavera): https://bit.ly/4n0zAf6 Password: PrimeiraCasa
The report for this theoretical-practical project, presents, both in its written composition and in its artefact, a reading and research that revolves around spectres in cinema, with an emphasis on non-fiction. Throughout its pages, it invites us to reflect on domestic archives, individual and family memories, as well as the relevance of these ghosts of the past in better understanding our own identity. Similarly, it was necessary to deepen our knowledge of autobiographical documentaries, home movies, and domestic ethnography, as well as death and spectrality in photography and cinema. This research focused on the analysis of six autobiographical documentary films that use archives (and different techniques) to revisit memories and invoke ghosts. The titles chosen are Une Histoire de Vent [1988] by Joris Ivens, Time Indefinite [1993] by Ross McElwee, As I Was Moving Ahead I Saw Brief Glimpses of Beauty [2000], by Jonas Mekas, Porto da Minha Infância [2001], by Manoel de Oliveira, Les Plages d’Agnès [2008], by Agnès Varda, and Elena [2012], by Petra Costa. However, the presence of other works of fiction and documentary throughout this research should not be overlooked. All these theoretical thoughts and technical experiments are consolidated through practice in the short film O Fim da Primavera (The End of Spring). This documentary and autobiographical film explores the director's family archive at her grandparents' house, while trying to find her late grandfather in photographs and cassettes, to achieve two farewells: that of the family figure who has passed away and that of childhood that has been lost. And it is by experimenting with the techniques studied in the second chapter of this project, that the director was able to commune with her spirits once again. Link to view the short film The End of Spring (O Fim da Primavera): https://bit.ly/4n0zAf6 Password: PrimeiraCasa
Description
Keywords
Espectralidade Arquivo Doméstico Cinema Documentário Autobiográfico Espíritos Ética Etnografia Doméstica Fantasmas Memória Morte