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Abstract(s)
Este ensaio explora a relação do cinema com a memória e o esquecimento, considerando que o documentário pode funcionar como um “lugar de memória”, conceito de Pierre Nora, e ter a capacidade de construir memórias e controlar as lembranças, através do registo fílmico de uma morte anunciada. Neste caso, o sujeito retratado é Daniel Hompesch, pintor belga a residir em Portugal, com um cancro incurável e já em fase terminal. O desenvolvimento teórico aprofunda as vertentes cognitiva e social da memória para as relacionar depois com o cinema documental, a partir da análise de filmes como Lightning Over Water (1980), de Nicholas Ray e Wim Wenders, e No Home Movie (2015), de Chantal Akerman.
Este percurso culmina com a análise das escolhas no processo de realização do documentário Hompesch Chez Moi, como potencial criador de um novo lugar de memória, reafirmando o desejo de memória, pela ameaça de desaparecimento do personagem, e o poder do cinema contra o esquecimento.
This essay explores the relation between cinema and memory/forgetting, considering that the documentary can work as a “place of memory”, concept defined by Pierre Nora, and has the capacity of constructing memories and controling the remebrance through the filmic registration of a death foretold. In this case, the subject is Daniel Hompesch, a belgian painter living in Portugal with an incurable cancer and a terminally ill patient. The theoretical development deepens the cognitive and social aspects of memory and relate them with documentary film, from the analysis of movies such as Lightning Over Water (1980), by Nicholas Ray and Wim Wenders, and No Home Movie (2015), by Chantal Akerman. This course culminates with the analysis of Hompesch Chez Moi documentary’s directing as a potential creator of a new “place of memory”, reaffirming the desire of memory, caused by the disappearance threat, and the power of film against forgetting.
This essay explores the relation between cinema and memory/forgetting, considering that the documentary can work as a “place of memory”, concept defined by Pierre Nora, and has the capacity of constructing memories and controling the remebrance through the filmic registration of a death foretold. In this case, the subject is Daniel Hompesch, a belgian painter living in Portugal with an incurable cancer and a terminally ill patient. The theoretical development deepens the cognitive and social aspects of memory and relate them with documentary film, from the analysis of movies such as Lightning Over Water (1980), by Nicholas Ray and Wim Wenders, and No Home Movie (2015), by Chantal Akerman. This course culminates with the analysis of Hompesch Chez Moi documentary’s directing as a potential creator of a new “place of memory”, reaffirming the desire of memory, caused by the disappearance threat, and the power of film against forgetting.
Description
Keywords
Memória Esquecimento Lugares de memória Documentário Morte Memory Forgetting Places of memory Documentary Death