Martin Scorsese Biopics: visual memory for the future
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://ojs.labcom-ifp.ubi.pt/doc/article/view/518 |
Resumo: | The aim of this text is to analyze three biopics by Martin Scorsese, questioning whether they can function as a source of visual memory/testimonial for the future even if subjectivity interferes in the documentaries montages about Cinema and Theatre, Literature and Music. Regarding the tone and construction of the biopics, we nominated them as “selfie-biopic”, “accomplice-biopic” and “tribute-biopic”. The main corpus of this study includes documentaries in three media: an “accomplicebiopic” about the film and theatre director Elia Kazan, A letter to Elia (2010); a “selfie-biopic”, Public speaking (2010), about the writer Fran Lebowitz; and a “tribute biopic” about Music, George Harrison, living in the material world (2011), portraying the Beatles guitarist. The theoretical frame of reference includes Beatriz Sarlo´s concepts of subjective memory and Julia Kristeva's study of intertexts. Bill Nichols and Fernão Ramos´ concepts are relevant for the definition of modern documentaries as well as Deane Williams´ history of documentary. |
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Martin Scorsese Biopics: visual memory for the futureMartin Scorsese Biopics: visual memory for the futureMartin Scorsese Biopics: visual memory for the futureMartin Scorsese Biopics: visual memory for the futuredocumentarysubjectivityvisual memoryselfie-biopicaccomplicebiopictribute-biopicdocumentairesubjectivitémémoire visuelleSelfie-biopicComplice- biopicHommage biopicThe aim of this text is to analyze three biopics by Martin Scorsese, questioning whether they can function as a source of visual memory/testimonial for the future even if subjectivity interferes in the documentaries montages about Cinema and Theatre, Literature and Music. Regarding the tone and construction of the biopics, we nominated them as “selfie-biopic”, “accomplice-biopic” and “tribute-biopic”. The main corpus of this study includes documentaries in three media: an “accomplicebiopic” about the film and theatre director Elia Kazan, A letter to Elia (2010); a “selfie-biopic”, Public speaking (2010), about the writer Fran Lebowitz; and a “tribute biopic” about Music, George Harrison, living in the material world (2011), portraying the Beatles guitarist. The theoretical frame of reference includes Beatriz Sarlo´s concepts of subjective memory and Julia Kristeva's study of intertexts. Bill Nichols and Fernão Ramos´ concepts are relevant for the definition of modern documentaries as well as Deane Williams´ history of documentary.El objetivo de este texto es analizar tres películas biográficas o biopics de Martin Scorsese para saber si pueden funcionar como una fuente de memoria visual o un testimonio para el futuro, aun cuando la subjetividad interfiere en los montajes de documentales sobre cine y teatro, literatura y música. Teniendo en cuenta el tono y la construcción de los biopics, los denominamos selfie-biopic, biopic-cómplice y biopictributo. El corpus principal de este estudio incluye documentales en tres formatos: un “biopic-cómplice” sobre el director de cine y teatro Elia Kazan, A letter to Elia (2010); un “selfie-biopic” sobre el escritor Fran Lebowitz, Public speaking (2010); y un “biopic-tributo” sobre música, George Harrison, living in the material world (2011), que retrata al guitarrista de los Beatles. El marco teórico de referencia incluye el concepto de memoria subjetiva de Beatriz Sarlo y el estudio de los intertextos de Julia Kristeva. Los conceptos de Bill Nichols y Fernão Ramos, así como la historia del documental de Deane Williams, son relevantes para la definición de los documentales actuales.Le but de ce texte est d’analyser trois biopics de Martin Scorsese, en se demandant s’ils peuvent fonctionner comme une source de mémoire visuelle ou un témoignage pour le futur, même si la subjectivité interfère dans les montages documentaires sur le cinéma et le théâtre, la littérature et la musique. En ce qui concerne le ton et la construction des biopics, nous les avons nommés «selfie-biopic», «complice-biopic» et «tribute-biopic». Le corpus principal de cette étude comprend des documentaires de trois types : une biographie complice sur le metteur en scène de théâtre et réalisateur Elia Kazan, Uma carta para Elia (2010) ; un «selfie-biopic», Public Speaking (2010), sur l’écrivain Fran Lebowitz ; et un «biopic hommage» sur la musique, George Harrison vivendo no mundo material (2011), évoquant le guitariste des Beatles. Le cadre de référence théorique comprend les concepts de la mémoire subjective de Beatriz Sarlo et l’étude des inter-expressions de Julia Kristeva. Les concepts de Bill Nichols et de Fernão Ramos sont pertinents pour la définition du documentaire moderne ainsi que pour l’histoire du documentaire de Deane Williams.O objetivo deste texto é analisar três biopics de Martin Scorsese, questionando se podem funcionar como fonte de memória visual/testemunho para o futuro, mesmo que a subjetividade interfira na montagem de documentários sobre Cinema e Teatro, Literatura e Música. Em relação ao tom e construção dos biopics, os nomeamos como “selfie-biopic”, “accomplice-biopic” e “tribute-biopic”. O corpus principal deste estudo inclui documentários em três mídias: um “cúmplice-biopic” sobre o diretor de cinema e teatro Elia Kazan, Uma carta para Elia (2010); um “selfiebiopic”, Public speaking (2010), sobre o escritor Fran Lebowitz; e uma “biografia de tributo” sobre a música, George Harrison vivendo no mundo material (2011), retratando o guitarrista dos Beatles. O referencial teórico inclui os conceitos de memória subjetiva de Beatriz Sarlo e o estudo de intertextos de Julia Kristeva. Os conceitos de Bill Nichols e Fernão Ramos são relevantes para a definição de documentários modernos, bem como a história do documentário de Deane Williams.DOC On-lineDOC On-lineDOC On-lineDOC On-line2019-03-29info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://ojs.labcom-ifp.ubi.pt/doc/article/view/518DOC On-line; No. 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activismDOC On-line; Núm. 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activismDOC On-line; No 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activismDOC On-line; N.º 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activism1646-477Xreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://ojs.labcom-ifp.ubi.pt/doc/article/view/518https://ojs.labcom-ifp.ubi.pt/doc/article/view/518/374Direitos de Autor (c) 2019 DOC On-lineinfo:eu-repo/semantics/openAccessAraujo, Denize CorreaSchneider, Cynthia2024-03-02T05:26:37Zoai:ojs.labcom-ifp.ubi.pt:article/518Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T03:12:00.067442Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Martin Scorsese Biopics: visual memory for the future Martin Scorsese Biopics: visual memory for the future Martin Scorsese Biopics: visual memory for the future Martin Scorsese Biopics: visual memory for the future |
title |
Martin Scorsese Biopics: visual memory for the future |
spellingShingle |
Martin Scorsese Biopics: visual memory for the future Araujo, Denize Correa documentary subjectivity visual memory selfie-biopic accomplicebiopic tribute-biopic documentaire subjectivité mémoire visuelle Selfie-biopic Complice- biopic Hommage biopic |
title_short |
Martin Scorsese Biopics: visual memory for the future |
title_full |
Martin Scorsese Biopics: visual memory for the future |
title_fullStr |
Martin Scorsese Biopics: visual memory for the future |
title_full_unstemmed |
Martin Scorsese Biopics: visual memory for the future |
title_sort |
Martin Scorsese Biopics: visual memory for the future |
author |
Araujo, Denize Correa |
author_facet |
Araujo, Denize Correa Schneider, Cynthia |
author_role |
author |
author2 |
Schneider, Cynthia |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Araujo, Denize Correa Schneider, Cynthia |
dc.subject.por.fl_str_mv |
documentary subjectivity visual memory selfie-biopic accomplicebiopic tribute-biopic documentaire subjectivité mémoire visuelle Selfie-biopic Complice- biopic Hommage biopic |
topic |
documentary subjectivity visual memory selfie-biopic accomplicebiopic tribute-biopic documentaire subjectivité mémoire visuelle Selfie-biopic Complice- biopic Hommage biopic |
description |
The aim of this text is to analyze three biopics by Martin Scorsese, questioning whether they can function as a source of visual memory/testimonial for the future even if subjectivity interferes in the documentaries montages about Cinema and Theatre, Literature and Music. Regarding the tone and construction of the biopics, we nominated them as “selfie-biopic”, “accomplice-biopic” and “tribute-biopic”. The main corpus of this study includes documentaries in three media: an “accomplicebiopic” about the film and theatre director Elia Kazan, A letter to Elia (2010); a “selfie-biopic”, Public speaking (2010), about the writer Fran Lebowitz; and a “tribute biopic” about Music, George Harrison, living in the material world (2011), portraying the Beatles guitarist. The theoretical frame of reference includes Beatriz Sarlo´s concepts of subjective memory and Julia Kristeva's study of intertexts. Bill Nichols and Fernão Ramos´ concepts are relevant for the definition of modern documentaries as well as Deane Williams´ history of documentary. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-03-29 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://ojs.labcom-ifp.ubi.pt/doc/article/view/518 |
url |
https://ojs.labcom-ifp.ubi.pt/doc/article/view/518 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://ojs.labcom-ifp.ubi.pt/doc/article/view/518 https://ojs.labcom-ifp.ubi.pt/doc/article/view/518/374 |
dc.rights.driver.fl_str_mv |
Direitos de Autor (c) 2019 DOC On-line info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Direitos de Autor (c) 2019 DOC On-line |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
DOC On-line DOC On-line DOC On-line DOC On-line |
publisher.none.fl_str_mv |
DOC On-line DOC On-line DOC On-line DOC On-line |
dc.source.none.fl_str_mv |
DOC On-line; No. 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activism DOC On-line; Núm. 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activism DOC On-line; No 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activism DOC On-line; N.º 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activism 1646-477X reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
repository.mail.fl_str_mv |
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1799137769471082496 |