Dialética entre a imagem e texto no filme-ensaio : O caso de “O Buraco Negro”

• Autor(a) principal: Gomes, Jorge Vaz
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/39589
• topic: Visão; Imagem; Écfrase; Shoá; Buracos negros; Arte Multimédia; Audiovisuais

O Buraco Negro (The Black Hole) is a fictional essay film about an historian who is losing his sight, who has studied throughout his life the images of the Shoah and World War II, which he chronicles throughout the film as he reflects on the possibility of thinking about them in their absence. The title of the film is inspired by a text from the French philosopher Georges Didi-Huberman, in which he compares the Shoah to a black hole from which no light emerges and which also exerts a terrible force of attraction. It is precisely from absent images that this black hole is also made up, which the film and the accompanying discourse try to rescue from its condition of indescribable. It is the historical relation between image and text that allows this rescue of absent images through a rhetorical figure that goes back to the classical antiquity. The ekphrasis, which consists generally in the textual description of a visual work, becomes a useful tool for producing discourse and thought about absent images. More recently the scope of ekphrasis has been extended to the context of other visual arts besides painting or sculpture, such as photography and cinema. The essay-film genre is particularly eloquent in this concretization of the dialectic between image and text, since it opens the way for mechanisms of convening, describing and interpreting absent images, which are present through "text" throughout the essay-film. Ekphrasis is precisely one of these mechanisms since there is an ekphrastic gesture in the way the film-essay summons absent images through text and image. It is through the dialectic between image and text and through the concepts of absent image and ekphrasis that the essay-film “O Buraco Negro” intends to rescue and think the images around the Second World War and the Shoah. It is also through this dialectic, which in addition to being a synergy that extends the formal limits of the works that interpret reality, also results a contamination that densifies the processes through which text and image are produced, apprehended and transmitted