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Abstract(s)
Este ensaio procura perceber de que forma a memória se manifesta através do
cinema documental e como é que este aborda a temática da morte. A memória pode
expressar-se de diferentes formas na construção de uma narrativa, desde as vivências
dos próprios realizadores até às histórias que lhes são contadas ou através da
apropriação de matérias fílmicas ou fotográficas que são representativas de um tempo
passado. Este ensaio versa sobre o cinema documental a partir da memória, esteja esta
sob a forma de arquivo ou de recordações, em particular um cinema que retrata a
temática da morte. Do conceito de memória até às representações que esta pode assumir
de forma a tornar-se ferramenta para o cinema, procurar-se-á abordar exemplos
práticos de obras cinematográficas documentais onde se assume a memória como ponto
de partida. Para isso, serão analisadas as obras For One More Hour With You de Alina
Marazi (2002), My Mexican Bretzel de Nuria Giménez (2019) e Still Processing de Sophy
Romvari (2020). Este percurso culmina no cruzamento da investigação teórica com o
desenvolvimento prático do projeto final, com a análise do processo de desenvolvimento
do documentário Tenho medo do fim das coisas sob a perspetiva da realização.
This essay seeks to understand how memory is assumed through documentary cinema and how it approaches the theme of death. Memory can be expressed in different ways in the construction of a narrative, from the experiences of the directors themselves to the stories that are told to them or through the appropriation of filmic or photographic materials that are representative of a past time. This essay is about documentary cinema based on memory, whether in the form of archive or of memories, particularly a cinema that portrays the theme of death. From the concept of memory to the representations it can assume in order to become a tool for cinema, this work approaches practical examples of documentary cinematographic works where memory is assumed as a starting point. To this end, the films For One More Hour With You by Alina Marazi (2002), My Mexican Bretzel by Nuria Giménez (2019) and Still Processing by Sophy Romvari (2020) will be analyzed. This journey culminates in the crossing of theoretical research with the practical development of the final project, ending in the analysis of the development process of the documentary I am afraid of the end of things from the perspective of directing.
This essay seeks to understand how memory is assumed through documentary cinema and how it approaches the theme of death. Memory can be expressed in different ways in the construction of a narrative, from the experiences of the directors themselves to the stories that are told to them or through the appropriation of filmic or photographic materials that are representative of a past time. This essay is about documentary cinema based on memory, whether in the form of archive or of memories, particularly a cinema that portrays the theme of death. From the concept of memory to the representations it can assume in order to become a tool for cinema, this work approaches practical examples of documentary cinematographic works where memory is assumed as a starting point. To this end, the films For One More Hour With You by Alina Marazi (2002), My Mexican Bretzel by Nuria Giménez (2019) and Still Processing by Sophy Romvari (2020) will be analyzed. This journey culminates in the crossing of theoretical research with the practical development of the final project, ending in the analysis of the development process of the documentary I am afraid of the end of things from the perspective of directing.
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Trabalho de projeto
Keywords
Memória Arquivo Documentário Morte Memory Archive Documentary Death