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Abstract(s)
Este ensaio é uma reflexão sobre a voz da criança no cinema, partindo do conceito de Bill Nichols que define “a voz de um documentário como o modo específico como um argumento ou uma perspetiva são apresentados” (Nichols, 2001, p. 46). Parte dessa identidade organiza-se através de estratégias de realização/edição, com recurso à captação do som e da imagem, que conferem às crianças o direito a uma voz, e a serem, elas próprias, nas dêixis fílmicas, o sujeito. O sujeito retratado é a Rita, uma menina de 10
anos, inserida na comunidade de Ensino Doméstico “O Mundo Somos Nós”, a mais nova de três irmãos que frequentam o ensino convencional. Esta família tem ainda outra particularidade que importa explorar: a mãe é professora do primeiro ciclo, numa escola pública na Póvoa de Lanhoso.
No contexto educativo são aprofundadas as estratégias visuais e sonoras utilizadas para a diferenciação e construção da voz individual e coletiva dos personagens (tomada de palavra, discurso, gestão do tempo das falas, silêncios ou expressões faciais), em particular, nos filmes Blackboards (Makhmalbaf, 2000) e Childhood (Olin, 2017).
Nas estratégias de realização, além do som e do cenário como formas de conferir temporalidade, espacialidade e ritmo à narrativa, estão subjacentes as questões relacionadas com o enquadramento, a escala de planos e a edição na construção do ponto de vista do personagem. É, por isso, objeto de reflexão a importância do close-up, o poder da imagem-afeção (Deleuze, 1983), a afirmação da criança-potência segundo Focault (citado em Marcello, 2008) e o poder do corte (Murch, 2001).
O aprofundamento teórico contribui para a realização do documentário Lar Doce Escola (Oliveira, 2018) e para a reflexão sobre o documentário como representação social e as suas considerações éticas subjacentes aos diferentes modos do documentário, em particular o observacional e participativo.
This essay is a reflection on the child's voice in the cinema, starting from the concept of Bill Nichols that defines "the voice of a documentary as the specific way an argument or a perspective are presented" (Nichols, 2001, p. 44). Part of this identity is organized through strategies of achievement/editing, through the capture of sound and image that gives children the right to a voice, to be themselves in the film, to be the subject. The subject is Rita – a 10-year-old girl wich is part of a homeschooling community named "O Mundo Somos Nós", in particular. Rita is the youngest of three brothers that attend public school. This family also has another particularity that is important to explore: the mother is a primary school teacher in a public school in Póvoa de Lanhoso. In the educational context, the visual and sound strategies used for the differentiation and construction of the individual and collective voice of the characters (word-taking, speech, time management of speeches, silences, facial expressions) are addressed in-depth in the films The Blackboard (Makhmalbaf, 2000) and Childhood (Olin, 2017). In the strategies of filmmaking, sound and scenery are ways of giving temporality, spatiality, and rhythm to the narrative. Moreover, the issues related to framing, the scale of plans and editing in the construction of the character’s point of view are also taken into account. Therefore, some authors have discussed the importance of the close-up, the power of the image-affection (Deleuze, 1983), the affirmation of the power-child according to Focault (as cited in Marcello, 2008) and the power of the cut (Murch, 2001). The theoretical component of this essay contributes not only to the making of the documentary Lar Doce Escola (Oliveira, 2018), but also to the observation of the documentary as social representation and the observation of all ethical considerations underlying the different modes of the documentary – in particular the observational and participatory.
This essay is a reflection on the child's voice in the cinema, starting from the concept of Bill Nichols that defines "the voice of a documentary as the specific way an argument or a perspective are presented" (Nichols, 2001, p. 44). Part of this identity is organized through strategies of achievement/editing, through the capture of sound and image that gives children the right to a voice, to be themselves in the film, to be the subject. The subject is Rita – a 10-year-old girl wich is part of a homeschooling community named "O Mundo Somos Nós", in particular. Rita is the youngest of three brothers that attend public school. This family also has another particularity that is important to explore: the mother is a primary school teacher in a public school in Póvoa de Lanhoso. In the educational context, the visual and sound strategies used for the differentiation and construction of the individual and collective voice of the characters (word-taking, speech, time management of speeches, silences, facial expressions) are addressed in-depth in the films The Blackboard (Makhmalbaf, 2000) and Childhood (Olin, 2017). In the strategies of filmmaking, sound and scenery are ways of giving temporality, spatiality, and rhythm to the narrative. Moreover, the issues related to framing, the scale of plans and editing in the construction of the character’s point of view are also taken into account. Therefore, some authors have discussed the importance of the close-up, the power of the image-affection (Deleuze, 1983), the affirmation of the power-child according to Focault (as cited in Marcello, 2008) and the power of the cut (Murch, 2001). The theoretical component of this essay contributes not only to the making of the documentary Lar Doce Escola (Oliveira, 2018), but also to the observation of the documentary as social representation and the observation of all ethical considerations underlying the different modes of the documentary – in particular the observational and participatory.
Description
Dissertação de Mestrado
Keywords
Cinema e educação Personagem Discurso educativo Voz e individualidade Cinema and education Character Educational speech Voice and individuality
Citation
Publisher
Instituto Politécnico do Porto. Escola Superior de Media Artes e Design