Imagens e memórias : a representação do 11 de setembro no cinema norte-americano

• Autor(a) principal: Régio, Marília Schramm
• Data de Publicação: 2017
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_RS
• Texto Completo: http://tede2.pucrs.br/tede2/handle/tede/7617
• topic: Cinema; Representação; Memória; Atentado; CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

The analysis of moving images enables us to interpret political relations and social representations, since, in them, different cultural perspectives are expressed and, therefore, different memories. The present thesis approaches the representation of the September 11, 2001 attacks, in New York, in North- American feature-length films produced between 2002 and 2012. If there are several documentaries about September 11, we cannot say the same regarding fictional feature-length films. There is a scarce production regarding the subject, limited to connections with the theme and its developments. Facing this scenery, two questions arise. What defines films about the attacks? How does cinema contemplates the memory of the attacks in North-American featurelength films? Our specific objectives are to map the images produced by the selected films and to observe the aesthetic strategies that contribute to produce a “culture of memory” (HUYSSEN, 2000) related to the attacks. In other words, we selected five films that constitute the corpus of this research: World Trade Center (Oliver Stone, 2006), United 93 (Paul Greengrass, 2006), 25th hours (Spike Lee, 2002), The Reluctant Fundamentalist (Mira Nair, 2012), and Zero Dark Thirty (Kathryn Bigelow, 2012). The methodology used was the filmic analysis technique, supported by the works of Jacques Aumont, René Gardies, Michel Marie, and Laurent Jullier. From the proposed analysis, our assumption is that we will observe in these films the concept of “place of memory”, stipulated by Pierre Nora (1993), and that we will perceive parallels with the “culture of memory”, a notion proposed by Andreas Huyssen (2000). We found that the North-American cinematography imposed the absence of the images of the September 11 attacks, and the analyzed narratives walk side by side in the sense of rebuilding a still fragile memory.