Between the character and the landscape: shift memories in brazilian documentary, part 1, Aboio
DOI:
https://doi.org/10.15448/1980-3729.2015.2.18963Keywords:
Documentary, Displacement, MemoryAbstract
This paper wants to discuss the composition of a memory of displacement in contemporary Brazilian documentary. For this, Aboio (Marilia Rocha, 2005) will be the object of analysis that focus on the sound aspects (speech and singing) and image (landscape) taken here as spaces where is this memory. The question, however, is not limited to identifying how sound and image may present as spaces of memories, but also identify their respective raw materials. Our hypothesis is that the foundation of shifting memory in this documentary is the relationship between tradition and work - tradition is evident in the testimonies and work that fills the landscape.Downloads
References
ARFUCH, Leonor. O espaço biográfico. Dilemas da subjetividade contemporânea. Rio de Janeiro: Eduerj, 2010.
ARNHEIM, Rudolph. Arte e percepção visual: uma psicologia da visão criadora. São Paulo: Pioneira; Edusp, 1980.
AUMONT, Jacques. O olho interminável [cinema e pintura]. São Paulo: Cosac Naify, 2004.
BALTAR, Mariana. Engajamento afetivo e as performances da memória em Um passaporte húngaro. Rio de Janeiro, Eco-Pós, vol. 10, nº 2, 2007, p. 96-112.
BAKHTIN, Mikhail. Problemas da poética de Dostoiévski. 3. ed. São Paulo: Forense Universitária, 2005.
BERNARDET, Jean-Claude. Cineastas e imagens do povo. São Paulo: Companhia das Letras, 2003.
CARLSON, Marvin. Performance: uma introdução crítica. Belo Horizonte: Editora UFMG, 2009.
CERTEAU, Michel de. A invenção do cotidiano. 1. Artes do fazer. 14. ed. Petrópolis: Vozes, 2008.
ELEFTHERIOTIS, Dimitris. Cinematic journey: film and moviment. Edinburgh: Edinburgh University Press, 2012.
ELSAESSER, Thomas. Real location, fantasy space, performative place: double occupancy and mutual interference in european cinema. In: TRIFONOVA, Temenuga (org.). European film theory. Routledge: Londres/ Nova York, 2009, p. 47-61.
GORZ, André. Metamorfoses do trabalho: crítica da razão econômica. 2. ed. São Paulo: Annablume, 2007.
HALBWACHS, Maurice. A memória coletiva. São Paulo: Centauro, 2003.
LEFEBVRE, Martin. Between setting and landscape in the cinema. In: LEFEBVRE, Martin (org.). Landscape and film. Routledge: Londres/ Nova York, 2006, p. 19-59.
LINS, Consuelo. O ensaio no documentário e a questão da narração em off. In: FREIRE FILHO, João & HERSCHMANN, Micael (orgs.). Novos rumos da cultura da mídia: indústrias, produtos, audiências. Rio de Janeiro: Mauad X, 2007, p. 143-157.
LOPES, Denilson. A delicadeza: estética, experiência e paisagem. Brasília: Editora UnB, 2007.
RANCIÈRE, Jacques. Discovering new worlds: politics of travel and metaphors of space. In: ROBERTSON, Georg et. al. (orgs.). Travellers’ tales. Narratives of home and displacement. Londres/Nova York: Routledge, 1994, p. 29-37.
RÍO, Elena del. Deleuze and cinema of performance. Edinburgh: Edinburgh University Press, 2012.
SCHECHNER, Richard. Performance studies: an introduction. 3. ed. Londres/Nova York: Routledge, 2013.
SPENCE, Louise & NAVARRO, Vinicius. Crafting Truth: documentary form and meaning. Nova Jersey: Rutgers University Press, 2011.
TAYLOR, Diana. O arquivo e o repertório: performance e memória cultural nas Américas. Belo Horizonte: Editora UFMG, 2013.
WILLIAMS, Raymond. Cultura. 2. ed. Rio de Janeiro: Paz e Terra, 2000.
Downloads
Published
How to Cite
Issue
Section
License
Copyright
The submission of originals to Revista Famecos implies the transfer by the authors of the right for publication. Authors retain copyright and grant the journal right of first publication. If the authors wish to include the same data into another publication, they must cite Revista Famecos as the site of original publication.
Creative Commons License
Except where otherwise specified, material published in this journal is licensed under a Creative Commons Attribution 4.0 International license, which allows unrestricted use, distribution and reproduction in any medium, provided the original publication is correctly cited.
