Housing in Mozambique – plurality in mozambican cinema
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Data de Publicação: | 2021 |
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Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Abril (Niterói) |
Texto Completo: | https://periodicos.uff.br/revistaabril/article/view/50265 |
Resumo: | ‘Housing’ still represents a topic that seems to be largely unaddressed in relation to film. Although Düllo (2008, p. 358) states in his article Wohnen im Film that the respective living situations of film characters are decisive for their localisation in life and action i.e. their anchoring in the diegetic levels, the specific design of living space has so far been regarded as of little importance. Yet, it is precisely aspects such as the localisation of the protago nists in the living space as well as the individual design of these spaces - the spacing (DÜLLO, 2008, p. 369f) - that provide essential information about the way in which they find themselves embedded culturally, socially, psychologically and by way of identity within the film. In this way, film viewers gain significant insights into the characters’ lives and development. Besides the situational insights into the life of the various individuals represented, films make concrete and visible statements about the cultural contexts of the characters, regions, spaces and countries shown by means of the staging of living situations. Films depict different housing cultures. Thus, depicted flats, houses, places and non-places (AUGÉ, 1994), i.e. all the different ‘living’ situations medialised in films, represent the diverse cultural and geopolitical contexts in which the film characters reside. The staged living spaces allow conclusions to be drawn about individual or collective living cultures, i.e. about the status that a living space carries in various cultures and the possibilities of having, maintaining, designing or not having living space. --- Original in German. |
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Housing in Mozambique – plurality in mozambican cinemaHousing in Mosambik - Pluralität im mosambikanischen KinoHousingCultural MemoryDocufictionMozambiqueEspaço habitacionalMemória culturalDocuficçãoMoçambique‘Housing’ still represents a topic that seems to be largely unaddressed in relation to film. Although Düllo (2008, p. 358) states in his article Wohnen im Film that the respective living situations of film characters are decisive for their localisation in life and action i.e. their anchoring in the diegetic levels, the specific design of living space has so far been regarded as of little importance. Yet, it is precisely aspects such as the localisation of the protago nists in the living space as well as the individual design of these spaces - the spacing (DÜLLO, 2008, p. 369f) - that provide essential information about the way in which they find themselves embedded culturally, socially, psychologically and by way of identity within the film. In this way, film viewers gain significant insights into the characters’ lives and development. Besides the situational insights into the life of the various individuals represented, films make concrete and visible statements about the cultural contexts of the characters, regions, spaces and countries shown by means of the staging of living situations. Films depict different housing cultures. Thus, depicted flats, houses, places and non-places (AUGÉ, 1994), i.e. all the different ‘living’ situations medialised in films, represent the diverse cultural and geopolitical contexts in which the film characters reside. The staged living spaces allow conclusions to be drawn about individual or collective living cultures, i.e. about the status that a living space carries in various cultures and the possibilities of having, maintaining, designing or not having living space. --- Original in German.‚Wohnen‘ stellt immer noch ein Thema dar, das in Bezug auf den Film weitgehend unbehandelt scheint. Obwohl Düllo (2008, p. 358) in seinem Artikel Wohnen im Film feststellt, dass die jeweiligen Wohnsituationen von Filmfiguren ausschlaggebend für deren Verortung im Leben und Handeln bzw. deren Verankerung in der diegetischen Handlungsebene und –aktion sind, wird der spezifischen Wohnraumgestaltung bislang sehr wenig Bedeutung beigemessen. Dabei sind es gerade Aspekte wie die räumliche Verortung der ProtagonistInnen im Wohnraum sowie das individuelle Ausgestalten der Wohnräume – das spacing (DÜLLO, 2008, p. 369f) -, die essentielle und für das Filmgeschehen signifikante Aussagen zur kulturellen, sozialen, psychischen und identitären Einbettung der Figuren in konkrete Kontexte und Räume liefern. Insofern repräsentieren filmisch abgebildete Wohnungen, Häuser, Orte und Nicht-Orte (AUGÉ, 1994) immer auch die diversen kulturellen und geopolitischen Kontexte, in denen sich die Filmfiguren aufhalten. Sie lassen Rückschlüsse auf individuelle bzw. kollektive Wohnkulturen zu, und damit auf den Status, den Wohnraum in den verschiedenen Kulturen innehat, sowie die Möglichkeiten, Wohnraum zu haben, zu erhalten, auszugestalten, oder auch nicht zu haben. Am Beispiel von zwei mosambikanischen Dokumentarfilmen, Hóspedes da Noite von Licínio Azevedo (2007) und Grande Hotel von Lotte Stoops (2010) soll die diversifizierte Wohnsituation im alten Kolonial-Hotel in Beira, wie sie sich in den beiden Filmen spiegelt, analysiert werden. Im Kontinuum zwischen Spielfilm und Dokumentation angesiedelt, werden neue Perspektiven auf die Verhandlung von ‚Wohnen‘ in kolonialer und postkolonialer Zeit, und damit auf die (Re-)Vision von Vergangenheit und Gegenwart in Mosambik präsentiert. ----------------------------------------------------------- HOUSING EM MOÇAMBIQUE – PLURALIDADE NO CINEMA MOÇAMBICANO O “habitar” ainda representa um tópico que parece em grande parte não abordado na análise de filmes. Embora Düllo (2008, p. 358) declare em seu artigo “Wohnen im Film” (“Viver no Cinema”) que as respectivas situações de moradia dos personagens fílmicos são cruciais para situá-las em suas vidas e em suas ações, isto é, determinar sua ancoragem no nível diegético da ação, muito pouca importância tem sido dada até agora à específica configuração do espaço habitado pelos personagens. No entanto, é precisamente o aspecto da localização espacial de protagonistas no seu espaço habitacional que fornece informações significativas a propósito da incorporação cultural, social, psicológica e identitária dos personagens em contextos e espaços concretos. Neste sentido, os apartamentos, casas, lugares e não-lugares (AUGÉ, 1994) cinematograficamente representados refletem sempre os diversos contextos geopolíticos nos quais os personagens do filme se encontram. Eles permitem tirar conclusões sobre culturas habitacionais individuais ou coletivas e, portanto, sobre o estatuto que o espaço habitado tem nas diversas culturas, bem como as possibilidades de ter, manter, ou mesmo não ter moradia, isto é, um espaço para habitar. Tomando como exemplos dois documentários moçambicanos, Hóspedes da Noite de Licínio Azevedo (2007) e Grande Hotel de Lotte Stoops (2010), serão analisadas as diferentes dimensões do habitar no antigo hotel colonial em Beira. Situadas na interface entre longa-metragem e documentário, serão apresentadas novas perspectivas sobre a negociação das formas do “habitar” nos tempos coloniais e pós-coloniais, bem como sobre as formas de (re)visão do passado e do presente em Moçambique. --- Original em alemão.ABEC Brasil2021-10-27info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionPeer-reviewed ArticleArtigo avaliado por paresapplication/pdfhttps://periodicos.uff.br/revistaabril/article/view/5026510.22409/abriluff.v13i27.50265ABRIL – NEPA / UFF; Vol. 13 No. 27 (2021): Decolonizations: Residual Memories; 61-78Abril – NEPA / UFF; v. 13 n. 27 (2021): Descolonizações: Memórias Residuais; 61-781984-209010.22409/abriluff.v13i27reponame:Abril (Niterói)instname:Universidade Federal Fluminense (UFF)instacron:UFFporhttps://periodicos.uff.br/revistaabril/article/view/50265/30165Copyright (c) 2021 Abril – NEPA / UFFhttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessSartingen, KathrinBaltas, Sophie2022-04-18T05:04:15Zoai:ojs.pkp.sfu.ca:article/50265Revistahttps://periodicos.uff.br/revistaabrilPUBhttps://periodicos.uff.br/revistaabril/oairevistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com1984-20901984-2090opendoar:2022-04-18T05:04:15Abril (Niterói) - Universidade Federal Fluminense (UFF)false |
dc.title.none.fl_str_mv |
Housing in Mozambique – plurality in mozambican cinema Housing in Mosambik - Pluralität im mosambikanischen Kino |
title |
Housing in Mozambique – plurality in mozambican cinema |
spellingShingle |
Housing in Mozambique – plurality in mozambican cinema Sartingen, Kathrin Housing Cultural Memory Docufiction Mozambique Espaço habitacional Memória cultural Docuficção Moçambique |
title_short |
Housing in Mozambique – plurality in mozambican cinema |
title_full |
Housing in Mozambique – plurality in mozambican cinema |
title_fullStr |
Housing in Mozambique – plurality in mozambican cinema |
title_full_unstemmed |
Housing in Mozambique – plurality in mozambican cinema |
title_sort |
Housing in Mozambique – plurality in mozambican cinema |
author |
Sartingen, Kathrin |
author_facet |
Sartingen, Kathrin Baltas, Sophie |
author_role |
author |
author2 |
Baltas, Sophie |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Sartingen, Kathrin Baltas, Sophie |
dc.subject.por.fl_str_mv |
Housing Cultural Memory Docufiction Mozambique Espaço habitacional Memória cultural Docuficção Moçambique |
topic |
Housing Cultural Memory Docufiction Mozambique Espaço habitacional Memória cultural Docuficção Moçambique |
description |
‘Housing’ still represents a topic that seems to be largely unaddressed in relation to film. Although Düllo (2008, p. 358) states in his article Wohnen im Film that the respective living situations of film characters are decisive for their localisation in life and action i.e. their anchoring in the diegetic levels, the specific design of living space has so far been regarded as of little importance. Yet, it is precisely aspects such as the localisation of the protago nists in the living space as well as the individual design of these spaces - the spacing (DÜLLO, 2008, p. 369f) - that provide essential information about the way in which they find themselves embedded culturally, socially, psychologically and by way of identity within the film. In this way, film viewers gain significant insights into the characters’ lives and development. Besides the situational insights into the life of the various individuals represented, films make concrete and visible statements about the cultural contexts of the characters, regions, spaces and countries shown by means of the staging of living situations. Films depict different housing cultures. Thus, depicted flats, houses, places and non-places (AUGÉ, 1994), i.e. all the different ‘living’ situations medialised in films, represent the diverse cultural and geopolitical contexts in which the film characters reside. The staged living spaces allow conclusions to be drawn about individual or collective living cultures, i.e. about the status that a living space carries in various cultures and the possibilities of having, maintaining, designing or not having living space. --- Original in German. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-10-27 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article Artigo avaliado por pares |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/50265 10.22409/abriluff.v13i27.50265 |
url |
https://periodicos.uff.br/revistaabril/article/view/50265 |
identifier_str_mv |
10.22409/abriluff.v13i27.50265 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/50265/30165 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2021 Abril – NEPA / UFF https://creativecommons.org/licenses/by-nc/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2021 Abril – NEPA / UFF https://creativecommons.org/licenses/by-nc/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ABEC Brasil |
publisher.none.fl_str_mv |
ABEC Brasil |
dc.source.none.fl_str_mv |
ABRIL – NEPA / UFF; Vol. 13 No. 27 (2021): Decolonizations: Residual Memories; 61-78 Abril – NEPA / UFF; v. 13 n. 27 (2021): Descolonizações: Memórias Residuais; 61-78 1984-2090 10.22409/abriluff.v13i27 reponame:Abril (Niterói) instname:Universidade Federal Fluminense (UFF) instacron:UFF |
instname_str |
Universidade Federal Fluminense (UFF) |
instacron_str |
UFF |
institution |
UFF |
reponame_str |
Abril (Niterói) |
collection |
Abril (Niterói) |
repository.name.fl_str_mv |
Abril (Niterói) - Universidade Federal Fluminense (UFF) |
repository.mail.fl_str_mv |
revistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com |
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1799695309621690368 |