The historian as a photographer of death: a reading of Histórias que só existem quando lembradas
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | ArtCultura (Online) |
Texto Completo: | https://seer.ufu.br/index.php/artcultura/article/view/56971 |
Resumo: | Taking as object of analysis the film Histórias que só existem quando lembradas (Found memories), launched in 2012 and directed by Júlia Murat, this article proposes a reflection about the photographer as metaphor of the role of the historian. Like the newly arrived photographer in the imaginary city of Jotuomba, in which a small group of residents carry out their daily activities completely erasing the passage of time, the historian can be understood as someone who uses traces and remnants to construct images through which subjects can enter into conflict with their past, in a similar manner to the Benjaminian conception of the notion of traces and also about the production of dialectic images. This clash, as an instantaneous picture configured in the tension between what is repressed and the desires which make any relationship with images of the past anachronistic, can be liberating of the weight of the past which accumulates in an anodyne and predictable manner in the repetitions of daily routine through gestures, rites, objects, and clichés, in short an experience which is forgotten (or repressed) from the actual passage of time. |
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The historian as a photographer of death: a reading of Histórias que só existem quando lembradasO historiador como fotógrafo da morte: uma leitura de Histórias que só existem quando lembradasHistórias que só existem quando lembradasfotografiaescrita da históriaFound memoriesphotographywriting of historyTaking as object of analysis the film Histórias que só existem quando lembradas (Found memories), launched in 2012 and directed by Júlia Murat, this article proposes a reflection about the photographer as metaphor of the role of the historian. Like the newly arrived photographer in the imaginary city of Jotuomba, in which a small group of residents carry out their daily activities completely erasing the passage of time, the historian can be understood as someone who uses traces and remnants to construct images through which subjects can enter into conflict with their past, in a similar manner to the Benjaminian conception of the notion of traces and also about the production of dialectic images. This clash, as an instantaneous picture configured in the tension between what is repressed and the desires which make any relationship with images of the past anachronistic, can be liberating of the weight of the past which accumulates in an anodyne and predictable manner in the repetitions of daily routine through gestures, rites, objects, and clichés, in short an experience which is forgotten (or repressed) from the actual passage of time.Tomando como objeto de análise o filme Histórias que só existem quando lembradas, lançado em 2012 e dirigido por Júlia Murat, este artigo propõe uma reflexão sobre o fotógrafo como metáfora do papel do historiador. Tal como a fotógrafa recém-chegada na cidade imaginária de Jotuomba, na qual um conjunto pequeno de moradores desenvolve suas atividades diárias apagando completamente a passagem do tempo, é possível compreender o historiador como aquele que se utiliza de rastros e vestígios para a construção de imagens por meio das quais os sujeitos podem entrar em choque com o seu passado, de modo semelhante à concepção benjaminiana sobre a noção de rastros e sobre a produção de imagens dialéticas. Esse choque, como instantâneo que se configura na tensão entre o recalcado e os desejos que tornam qualquer relação com imagens do passado anacrônica, pode ser libertador do peso de um passado que se acumula, de forma anódina e previsível, nas repetições do cotidiano, por intermédio de gestos, ritos, objetos, frases clichês, enfim, de uma vivência que se esqueceu (ou recalcou) da própria passagem do tempo.Universidade Federal de Uberlândia2020-06-10info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufu.br/index.php/artcultura/article/view/5697110.14393/artc-v22-n40-2020-56971ArtCultura; Vol. 22 No. 40 (2020): ArtCultura; 191-212ArtCultura; Vol. 22 Núm. 40 (2020): ArtCultura; 191-212ArtCultura; v. 22 n. 40 (2020): ArtCultura; 191-2122178-3845reponame:ArtCultura (Online)instname:Universidade Federal de Uberlândia (UFU)instacron:UFUporhttps://seer.ufu.br/index.php/artcultura/article/view/56971/29751Attila Marcelino , Douglas info:eu-repo/semantics/openAccess2022-05-27T16:16:01Zoai:ojs.www.seer.ufu.br:article/56971Revistahttp://www.seer.ufu.br/index.php/artcultura/indexPUBhttps://seer.ufu.br/index.php/artcultura/oaiakparanhos@uol.com.br||2178-38452178-3845opendoar:2022-05-27T16:16:01ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)false |
dc.title.none.fl_str_mv |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas O historiador como fotógrafo da morte: uma leitura de Histórias que só existem quando lembradas |
title |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas |
spellingShingle |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas Attila Marcelino , Douglas Histórias que só existem quando lembradas fotografia escrita da história Found memories photography writing of history |
title_short |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas |
title_full |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas |
title_fullStr |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas |
title_full_unstemmed |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas |
title_sort |
The historian as a photographer of death: a reading of Histórias que só existem quando lembradas |
author |
Attila Marcelino , Douglas |
author_facet |
Attila Marcelino , Douglas |
author_role |
author |
dc.contributor.author.fl_str_mv |
Attila Marcelino , Douglas |
dc.subject.por.fl_str_mv |
Histórias que só existem quando lembradas fotografia escrita da história Found memories photography writing of history |
topic |
Histórias que só existem quando lembradas fotografia escrita da história Found memories photography writing of history |
description |
Taking as object of analysis the film Histórias que só existem quando lembradas (Found memories), launched in 2012 and directed by Júlia Murat, this article proposes a reflection about the photographer as metaphor of the role of the historian. Like the newly arrived photographer in the imaginary city of Jotuomba, in which a small group of residents carry out their daily activities completely erasing the passage of time, the historian can be understood as someone who uses traces and remnants to construct images through which subjects can enter into conflict with their past, in a similar manner to the Benjaminian conception of the notion of traces and also about the production of dialectic images. This clash, as an instantaneous picture configured in the tension between what is repressed and the desires which make any relationship with images of the past anachronistic, can be liberating of the weight of the past which accumulates in an anodyne and predictable manner in the repetitions of daily routine through gestures, rites, objects, and clichés, in short an experience which is forgotten (or repressed) from the actual passage of time. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-06-10 |
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.ufu.br/index.php/artcultura/article/view/56971 10.14393/artc-v22-n40-2020-56971 |
url |
https://seer.ufu.br/index.php/artcultura/article/view/56971 |
identifier_str_mv |
10.14393/artc-v22-n40-2020-56971 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://seer.ufu.br/index.php/artcultura/article/view/56971/29751 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Uberlândia |
publisher.none.fl_str_mv |
Universidade Federal de Uberlândia |
dc.source.none.fl_str_mv |
ArtCultura; Vol. 22 No. 40 (2020): ArtCultura; 191-212 ArtCultura; Vol. 22 Núm. 40 (2020): ArtCultura; 191-212 ArtCultura; v. 22 n. 40 (2020): ArtCultura; 191-212 2178-3845 reponame:ArtCultura (Online) instname:Universidade Federal de Uberlândia (UFU) instacron:UFU |
instname_str |
Universidade Federal de Uberlândia (UFU) |
instacron_str |
UFU |
institution |
UFU |
reponame_str |
ArtCultura (Online) |
collection |
ArtCultura (Online) |
repository.name.fl_str_mv |
ArtCultura (Online) - Universidade Federal de Uberlândia (UFU) |
repository.mail.fl_str_mv |
akparanhos@uol.com.br|| |
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1797069142789980160 |