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Authors
Abstract(s)
O presente trabalho consiste no desenvolvimento de uma reflexão que dê origem ao documentário Iterance. Encarando as ruínas como veículo de reflexão, pretende-se abordar as semelhanças entre a crise actual e a
grande depressão anterior à Segunda Grande Guerra para lançar a hipótese de estarmos a caminhar na mesma direcção, dado o crescimento dos partidos de inspiração nacionalista por toda a a Europa.
As ruínas revestem-se de uma multiplicidade temporal que nos permite em simultâneo experienciar o passado e o presente, bem como imaginar o futuro, não sendo essa imaginação necessariamente restauradora, mas sim reflexiva no sentido de ponderar os caminhos que poderemos percorrer. Estas características relacionadas com o tempo e com a experiência de contemplação são comuns ao cinema, e talvez por isso podemos encontrar em muitas filmes imagens de ruínas, que tanto podem ser símbolos de uma mensagem que lhes é exterior como ser elas próprias personagens essenciais para a obra cinematográfica. No presente trabalho abordamos o filme Stalker (1979) de Tarkovsky pela importância que estas têm na representação do tempo e na sua passagem, bem como da escolha dos movimentos de câmara lentos que nos permitem reconhecer a passagem do tempo e a contemplação das ruínas na zona. Abordamos também Ruínas (2009) de Manuel Mozos que explora a relação presente-passado que estes lugares nos dão para construir um retrato de um país que já não existe e traçar semelhanças com o presente, à semelhança do que Iterance pretende fazer.
Concluímos que esta reflexão veiculada através das ruínas é mais eficaz através de uma aproximação ao modo reflexivo enunciado por Nichols pelo caracter activador da consciência do espectador, sem encerrar uma mensagem como verdade absoluta. Se as ruínas nos dão a possibilidade de olhar sobre vários prismas, pensamos que este modo de documentário poderá ir ao encontro disso e a partir daí construir um filme que pretende reflectir a sensação de experiência de lugar em ruínas, particularmente das diferentes relações espaço tempo, e através disso potenciar a reflexão acerca de possíveis futuros.
The present work consists in developing a reflection that give rise to the documentary Iterance. Staring at the ruins as a vehicle of reflection, it is intended to address the similarities between the current crisis and the great depression prior to the Second World War to launch the hypothesis that we are walking in the same direction, given the growth of nationalist-inspired parties throughout Europe. The ruins have a temporal multiplicity which allows us to simultaneously experience the past and present, as well as to imagine the future, not necessarily a restorative imagination, but rather a reflexive one in order to consider the paths that we can go. These time-related features and the experience of contemplation are common to the movies, and maybe that's why we can find in many films pictures of ruins, which both can be symbols of a message that is outside them, and being themselves essential characters to the cinematographic work. In this paper we discuss the film Stalker (1979), by Tarkovsky, for the importance that the ruins have in the representation of time and its passage, as well as the choice of slow camera movements that allow us to recognize the passage of time and the contemplation of ruins in the zone. We also discuss Ruins (2009) by Manuel Mozos, who explores the relationship present-past that these places give us to construct a portrait of a country that no longer exists and plot similarities with the present, similar to what Iterance intends to do. We conclude that this reflection conveyed through the ruins is most effective through an approach to the reflexive mode stated by Nichols for the viewer's consciousness activator particularity, without stating a message as absolute truth. If the ruins give us the possibility to look over various prisms, we think that this documentary may meet it, and from there build a movie that intends to reflect the feeling of experience a place in ruins, particularly the different space-time relationships, and thereby enhance the reflection about possible futures
The present work consists in developing a reflection that give rise to the documentary Iterance. Staring at the ruins as a vehicle of reflection, it is intended to address the similarities between the current crisis and the great depression prior to the Second World War to launch the hypothesis that we are walking in the same direction, given the growth of nationalist-inspired parties throughout Europe. The ruins have a temporal multiplicity which allows us to simultaneously experience the past and present, as well as to imagine the future, not necessarily a restorative imagination, but rather a reflexive one in order to consider the paths that we can go. These time-related features and the experience of contemplation are common to the movies, and maybe that's why we can find in many films pictures of ruins, which both can be symbols of a message that is outside them, and being themselves essential characters to the cinematographic work. In this paper we discuss the film Stalker (1979), by Tarkovsky, for the importance that the ruins have in the representation of time and its passage, as well as the choice of slow camera movements that allow us to recognize the passage of time and the contemplation of ruins in the zone. We also discuss Ruins (2009) by Manuel Mozos, who explores the relationship present-past that these places give us to construct a portrait of a country that no longer exists and plot similarities with the present, similar to what Iterance intends to do. We conclude that this reflection conveyed through the ruins is most effective through an approach to the reflexive mode stated by Nichols for the viewer's consciousness activator particularity, without stating a message as absolute truth. If the ruins give us the possibility to look over various prisms, we think that this documentary may meet it, and from there build a movie that intends to reflect the feeling of experience a place in ruins, particularly the different space-time relationships, and thereby enhance the reflection about possible futures
Description
Keywords
Cinema Documentário Ruínas Crise Tempo Documentary Ruins Crisis Time