Memory as a theoretical act by 'making of' documentaries

• Autor(a) principal: de Oliveira Iuva, Patricia
• Data de Publicação: 2020
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.14591/aniki.v7n2.640
• topic: memory; making-of documentary; authorship; filmmaker; dialectics of gaze; memória; documentário making-of; autoria; cineasta; dialética do olhar

This article discusses the dimension of memory in cinematographic creation processes throughout making of documentaries, understanding them as traces of theoretical and creative thinking, whose temporal signs reverberate and disseminate meanings of a memory of (and for) cinema, transcending the film text to which it refers. We admit the making of as process and work, where memory emerges as a theoretical act of possible unveiling in the cinematic creation environment. The theoretical-methodological course reveals a brief explanation about the concepts of memory and dialectic of the view to, in a second moment, combine certain aspects with the notions of critical image and double distance, from Didi-Huberman (2010). Reflection on the assemblages of audiovisual memory in making of documentaries occurs through the following corpus: Burden of Dreams (1982, directed by Les Blank) and The Hamster Factor and Other Tales of Twelve Monkeys (1996, directed by Keith Fulton and Louis Peppe).