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Advisor(s)
Abstract(s)
Tanto o documentário “Além do Horizonte”, associado a este ensaio, quanto a
presente reflexão teórica procuram entender quais as dimensões inerentes ao
processo da biografia e da autobiografia, particularmente, no Cinema, enquanto
fronteira e expansão entre géneros na cultura contemporânea. Os seus
desdobramentos ocorreram na passagem da modernidade para a pós-modernidade,
acabando por mudar a lógica do fazer documentário (auto)biográfico. Assiste-se,
cada vez mais, à movimentação do seu lugar numa fronteira complexa verbal e
visual que deambula entre os géneros cinematográficos: ficção e documentário. Por
sua vez, os papéis do realizador e/ou produtor imiscuem-se nos dois géneros quando
a biografia trabalhada diz respeito à sua família, implicando uma subjetividade que
não se delimita às exigências científicas. Essa barreira trespassada espelha um cunho
pessoal ou mesmo autobiográfico. Na cultura contemporânea, a autobiografia resulta
da evolução da biografia e do próprio género, passando da linguagem verbal inscrita
no suporte do livro para outros tipos de linguagem que potenciaram uma
proliferação acentuada.
A partir dessa análise assume-se, também, que a imersão do realizador no
processo do documentário autobiográfico acarreta, sob o ponto de vista pessoal e
emocional, um envolvimento doloroso, exaustivo e penoso. Suportada numa base
teórico-prática nasce a reflexão que se pretende tratar através de análises de livros e
documentários autobiográficos, depoimentos de autores, artigos académicos, outros
documentos que promovam o entendimento sobre o presente assunto.
Both the documentary associated with this essay and this theoretical reflection seek to understand the dimensons inherit in the process of biography and of autobiography, mainly in Cinema, as the frontier and expansion between genres in contemporary culture. Its developments occurred in the passage from modernity to postmodernity, ending up changing the logic of the (auto)biographical documentary. We are witnessing, more and more, the movement of its place in a complex verbal and visual frontier that wanders between cinematographic genres: fiction and documentary. In turn, the roles of the director and/or producer are interwined in both genres when the worked biography concerns their family, implying a subjectivity that is not limited to scientific requirements. This pierced barrier mirrors a personal or even autobiographical stamp. In contemporary culture, autobiography results from the evolution of biography and the genre itself, moving from the verbal language inscribed in the book’s support to other types of language that fostered a marked proliferation. From that analysis, it is also assumed that the immersion of the director in the autobiographical documentary process entails, from a personal and emotional point of view, a painful and exhausting involvement. Supported on a theoretical-practical basis, emerges the reflection that is intended to be addressed through that analysis through autobiographical books and documentaries, author’s testimonies, academic articles, and other documents that promote understanding of the present subject.
Both the documentary associated with this essay and this theoretical reflection seek to understand the dimensons inherit in the process of biography and of autobiography, mainly in Cinema, as the frontier and expansion between genres in contemporary culture. Its developments occurred in the passage from modernity to postmodernity, ending up changing the logic of the (auto)biographical documentary. We are witnessing, more and more, the movement of its place in a complex verbal and visual frontier that wanders between cinematographic genres: fiction and documentary. In turn, the roles of the director and/or producer are interwined in both genres when the worked biography concerns their family, implying a subjectivity that is not limited to scientific requirements. This pierced barrier mirrors a personal or even autobiographical stamp. In contemporary culture, autobiography results from the evolution of biography and the genre itself, moving from the verbal language inscribed in the book’s support to other types of language that fostered a marked proliferation. From that analysis, it is also assumed that the immersion of the director in the autobiographical documentary process entails, from a personal and emotional point of view, a painful and exhausting involvement. Supported on a theoretical-practical basis, emerges the reflection that is intended to be addressed through that analysis through autobiographical books and documentaries, author’s testimonies, academic articles, and other documents that promote understanding of the present subject.
Description
Dissertação de mestrado
Keywords
Autobiografia Dor Família Espiritualidade Documentário Arquivo Memória Autobiography Pain Family Spirituality Documentary Archive Memory