Conflicting dioramas and frames: the reenactments of absence in The Missing Picture

Detalhes bibliográficos
Autor(a) principal: Andrade, Márcio Henrique Melo de
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: por
Título da fonte: Intexto (Porto Alegre)
Texto Completo: https://seer.ufrgs.br/index.php/intexto/article/view/119976
Resumo: In the autobiographical documentary The Missing Picture, the Cambodian filmmaker Rithy Panh tells his memories about the start of comunist dictatorship commanded by Khmer Rouge in Cambodia between 1975 and 1979. One of the measures undertook by the regime was the eradication of personal archives of the inhabitants of the city of Phnom Penh - photo albums, clothes, objects etc. At the same time, the regime produced propaganda movies to represent the dictatorship as a way to convey harmony, law and progress, as well as pictures of prisoners in concentration camps. In Rithy Pahn’s movie, the director goes after these archives and contrasts them with the absence of archives which could describe his personal experience. In this writing of himself, connected to the creation of a historical account, Pahn creates small dioramas and clay dolls which work as sets of his memories. In this mix of dioramas and film frames, the director chooses the form of the essay film for his movie, using resources such as the poetic use of the archival materials; the dialectic between images of different aesthetics and origins; and the relation between factual images and subject discourses. The essay film helps Pahn to retrieve his personal experience and to analyze the dictatorship archives and also as material to propose an imaginative collective and historical account of a nation. In this article, I analyze how the essayistic look expands the ways of interpreting a documental image and re-negotiate the ways of historical account, understanding how both cross each other out setting.
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spelling Conflicting dioramas and frames: the reenactments of absence in The Missing PictureDioramas e fotogramas em conflito: as encenações da ausência em A Imagem que FaltaA imagem que faltaRithy Panhensaio fílmicodocumentárioautobiografiaThe Missing PictureRithy Panhessay filmdocumentaryautobiographyIn the autobiographical documentary The Missing Picture, the Cambodian filmmaker Rithy Panh tells his memories about the start of comunist dictatorship commanded by Khmer Rouge in Cambodia between 1975 and 1979. One of the measures undertook by the regime was the eradication of personal archives of the inhabitants of the city of Phnom Penh - photo albums, clothes, objects etc. At the same time, the regime produced propaganda movies to represent the dictatorship as a way to convey harmony, law and progress, as well as pictures of prisoners in concentration camps. In Rithy Pahn’s movie, the director goes after these archives and contrasts them with the absence of archives which could describe his personal experience. In this writing of himself, connected to the creation of a historical account, Pahn creates small dioramas and clay dolls which work as sets of his memories. In this mix of dioramas and film frames, the director chooses the form of the essay film for his movie, using resources such as the poetic use of the archival materials; the dialectic between images of different aesthetics and origins; and the relation between factual images and subject discourses. The essay film helps Pahn to retrieve his personal experience and to analyze the dictatorship archives and also as material to propose an imaginative collective and historical account of a nation. In this article, I analyze how the essayistic look expands the ways of interpreting a documental image and re-negotiate the ways of historical account, understanding how both cross each other out setting.No documentário autobiográfico A Imagem que Falta, o cineasta cambojano Rithy Panh relata suas memórias sobre a instauração da ditadura comunista perpetrada pelo Khmer Vermelho no Camboja entre 1975 e 1979. Um dos atos para implementação desse regime consistiu no apagamento dos arquivos pessoais dos habitantes da cidade de Phnom Penh – álbuns de família, roupas, objetos. Ao mesmo tempo, o regime também produziu filmes de propaganda para representar a ditadura como lugar de harmonia, ordem e progresso, assim como imagens dos prisioneiros nos campos de trabalho. No filme de Rithy Pahn, o diretor retoma esses arquivos e os tensiona com a ausência de imagens que descrevam sua experiência pessoal. Nessa escrita de si alinhavada à elaboração de uma narrativa histórica, Pahn cria pequenos dioramas e bonecos de argila que funcionam como palcos e cenários de suas memórias. Nessa montagem entre fotogramas e dioramas, o diretor toma como forma o ensaio fílmico e seus recursos, como os usos poéticos dos materiais de arquivo, a dialética entre imagens de origens e estéticas distintas e a relação entre imagens factuais e discursos subjetivos. Neste artigo, analisa-se como a forma do ensaio no filme amplia os modos de interpretação da imagem documental e renegocia as formas de escrita da narrativa histórica, compreendendo como ambos se atravessam a partir da montagem.Universidade Federal do Rio Grande do Sul2022-10-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufrgs.br/index.php/intexto/article/view/11997610.19132/1807-8583202253.119976Intexto; No. 53 (2022); 119976Intexto; Núm. 53 (2022); 119976Intexto; No. 53 (2022); 119976Intexto; N. 53 (2022); 119976Intexto; n. 53 (2022); 1199761807-8583reponame:Intexto (Porto Alegre)instname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/intexto/article/view/119976/86447Copyright (c) 2022 Márcio Henrique Andradehttps://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessAndrade, Márcio Henrique Melo de2023-07-17T18:02:20Zoai:seer.ufrgs.br:article/119976Revistahttp://seer.ufrgs.br/intextoONGhttp://seer.ufrgs.br/intexto/oai||intexto@ufrgs.br1807-85831807-8583opendoar:2023-07-17T18:02:20Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
Dioramas e fotogramas em conflito: as encenações da ausência em A Imagem que Falta
title Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
spellingShingle Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
Andrade, Márcio Henrique Melo de
A imagem que falta
Rithy Panh
ensaio fílmico
documentário
autobiografia
The Missing Picture
Rithy Panh
essay film
documentary
autobiography
title_short Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
title_full Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
title_fullStr Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
title_full_unstemmed Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
title_sort Conflicting dioramas and frames: the reenactments of absence in The Missing Picture
author Andrade, Márcio Henrique Melo de
author_facet Andrade, Márcio Henrique Melo de
author_role author
dc.contributor.author.fl_str_mv Andrade, Márcio Henrique Melo de
dc.subject.por.fl_str_mv A imagem que falta
Rithy Panh
ensaio fílmico
documentário
autobiografia
The Missing Picture
Rithy Panh
essay film
documentary
autobiography
topic A imagem que falta
Rithy Panh
ensaio fílmico
documentário
autobiografia
The Missing Picture
Rithy Panh
essay film
documentary
autobiography
description In the autobiographical documentary The Missing Picture, the Cambodian filmmaker Rithy Panh tells his memories about the start of comunist dictatorship commanded by Khmer Rouge in Cambodia between 1975 and 1979. One of the measures undertook by the regime was the eradication of personal archives of the inhabitants of the city of Phnom Penh - photo albums, clothes, objects etc. At the same time, the regime produced propaganda movies to represent the dictatorship as a way to convey harmony, law and progress, as well as pictures of prisoners in concentration camps. In Rithy Pahn’s movie, the director goes after these archives and contrasts them with the absence of archives which could describe his personal experience. In this writing of himself, connected to the creation of a historical account, Pahn creates small dioramas and clay dolls which work as sets of his memories. In this mix of dioramas and film frames, the director chooses the form of the essay film for his movie, using resources such as the poetic use of the archival materials; the dialectic between images of different aesthetics and origins; and the relation between factual images and subject discourses. The essay film helps Pahn to retrieve his personal experience and to analyze the dictatorship archives and also as material to propose an imaginative collective and historical account of a nation. In this article, I analyze how the essayistic look expands the ways of interpreting a documental image and re-negotiate the ways of historical account, understanding how both cross each other out setting.
publishDate 2022
dc.date.none.fl_str_mv 2022-10-31
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/119976
10.19132/1807-8583202253.119976
url https://seer.ufrgs.br/index.php/intexto/article/view/119976
identifier_str_mv 10.19132/1807-8583202253.119976
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/intexto/article/view/119976/86447
dc.rights.driver.fl_str_mv Copyright (c) 2022 Márcio Henrique Andrade
https://creativecommons.org/licenses/by-nc/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Márcio Henrique Andrade
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 Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Intexto; No. 53 (2022); 119976
Intexto; Núm. 53 (2022); 119976
Intexto; No. 53 (2022); 119976
Intexto; N. 53 (2022); 119976
Intexto; n. 53 (2022); 119976
1807-8583
reponame:Intexto (Porto Alegre)
instname:Universidade Federal do Rio Grande do Sul (UFRGS)
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instname_str Universidade Federal do Rio Grande do Sul (UFRGS)
instacron_str UFRGS
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reponame_str Intexto (Porto Alegre)
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repository.name.fl_str_mv Intexto (Porto Alegre) - Universidade Federal do Rio Grande do Sul (UFRGS)
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