A visão: cruzamentos formais e narrativos no cinema real

• Autor(a) principal: Leal, Bruno
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/46860
• topic: Nichols, Bill, 1942-; Roe, Annabelle Honess; Panh, Rithy, 1964-; Folman, Ari; Morgan, Brett; De La Fuente, Raúl, 1974-; Nenov, Damien; Animação; Documentário; Hibridismo; Evocações; Subjectividade; Performance; Modos de representação; Domínio/Área Científica::Humanidades::Artes

Documentary and animation are not antagonistic concepts, referring to two distinct forms of narrative and formal expression. On the contrary, there is an interchangeable relationship between the two, and animation often works towards “representing the unrepresentable”, materializing the author's vision in a way that profilmic image would have difficulty achieving. This work consists of a proposal for a hybrid documentary about Visão magazine, a comic book publication appearing in Portugal during the PREC period, whose libertarian and transgressive attitude contrasted with the repression felt in the country during the time of the Estado Novo dictatorship and the Colonial War. The structure of the film will be based on a dialectic between filmed image and animation, forcing us to rethink concepts such as “documentary truth” and “factuality”, in light of the way in which films such as Waltz with Bashir and Persepolis have problematized our relationship with the genre. This thesis begins by questioning the very nature of documentary cinema - and particularly animated documentary – through concepts by Bill Nichols and Annabelle Honess Roe. Its goal is to list the various existing modes of representation and, in particular, to demonstrate how a performative documentary can make use of the evocative potential of animation to achieve an engaging story. Taking from the premise that non-fiction cinema allows to transcend the mere reproduction of facts, anchoring itself in authorial memory and subjectivity to produce a new kind of knowledge, this thesis will demonstrate, through contemporary examples, how the director’s experience and his affective relationship with the theme can influence the edification of the film, leading to a kind of “truth” that relates more strongly to his internal universe, than with a confrontation with the historical world. Having drawn the theoretical support base for the project, we’ll approach its conceptualization, describing each technical area and its inherent implications.