Paris 1900 and Le souvenir d’un avenir: the present and the future of images
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Significação (Online) |
Texto Completo: | https://www.revistas.usp.br/significacao/article/view/168468 |
Resumo: | This article explores two compilation films, Paris 1900 (Nicole Vedrès, 1946) and Le souvenir d’un avenir (Chris Marker and Yannick Bellon, 2001), with the purpose of making a comparative analysis focusing particularly on the way both films, in approaching the same themes, places their enunciative strategies in the sense of creating in the viewer the sensation of a double layered temporality of the images. The methodology is based on film analysis and discourse analysis. It also employs theories by Bazin, Didi-Huberman, Rancière and works on reemployment of found footage in films. |
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Paris 1900 and Le souvenir d’un avenir: the present and the future of imagesParis 1900 e Le souvenir d’un avenir: o presente e o futuro das imagensDocumentaryArchiveMemoryNicole VedrèsChris MarkerYannick BellonDocumentárioArquivoMemóriaNicole VedrèsChris MarkerYannick BellonThis article explores two compilation films, Paris 1900 (Nicole Vedrès, 1946) and Le souvenir d’un avenir (Chris Marker and Yannick Bellon, 2001), with the purpose of making a comparative analysis focusing particularly on the way both films, in approaching the same themes, places their enunciative strategies in the sense of creating in the viewer the sensation of a double layered temporality of the images. The methodology is based on film analysis and discourse analysis. It also employs theories by Bazin, Didi-Huberman, Rancière and works on reemployment of found footage in films.O artigo aproxima dois filmes de compilação, Paris 1900 (Nicole Vedrès, 1946) e Le souvenir d’un avenir (Chris Marker e Yannick Bellon, 2001), propondo-se a fazer uma análise comparativa a partir da forma como, a fim de tratar de uma mesma temática (tal seja, a guerra enquanto evento traumático e o dever de memória), eles acabam por adotar estratégias enunciativas parecidas, que consistem principalmente em criar um efeito de sentido de dupla temporalidade das imagens, de maneira a congregar presente e futuro diegéticos num único bloco de significação. A metodologia centra-se na análise fílmica, na análise do discurso, além dos pensamentos de Bazin, Didi-Huberman e Rancière, entre outros.Universidade de São Paulo. Escola de Comunicações e Artes2021-01-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionAvaliado pelos paresapplication/pdfhttps://www.revistas.usp.br/significacao/article/view/16846810.11606/issn.2316-7114.sig.2021.168468Significação: Journal of Audiovisual Culture; Vol. 48 No. 55 (2021); 231-249Significação: Revista de Cultura Audiovisual; v. 48 n. 55 (2021); 231-2492316-71141516-4330reponame:Significação (Online)instname:Universidade de São Paulo (USP)instacron:USPporhttps://www.revistas.usp.br/significacao/article/view/168468/168396Copyright (c) 2021 Liciane Timoteo de Mamedehttp://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessMamede, Liciane Timoteo de2021-02-09T13:46:22Zoai:revistas.usp.br:article/168468Revistahttp://www.usp.br/significacao/PUBhttp://www.revistas.usp.br/significacao/oai||significacao@usp.br2316-71141516-4330opendoar:2021-02-09T13:46:22Significação (Online) - Universidade de São Paulo (USP)false |
dc.title.none.fl_str_mv |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images Paris 1900 e Le souvenir d’un avenir: o presente e o futuro das imagens |
title |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images |
spellingShingle |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images Mamede, Liciane Timoteo de Documentary Archive Memory Nicole Vedrès Chris Marker Yannick Bellon Documentário Arquivo Memória Nicole Vedrès Chris Marker Yannick Bellon |
title_short |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images |
title_full |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images |
title_fullStr |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images |
title_full_unstemmed |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images |
title_sort |
Paris 1900 and Le souvenir d’un avenir: the present and the future of images |
author |
Mamede, Liciane Timoteo de |
author_facet |
Mamede, Liciane Timoteo de |
author_role |
author |
dc.contributor.author.fl_str_mv |
Mamede, Liciane Timoteo de |
dc.subject.por.fl_str_mv |
Documentary Archive Memory Nicole Vedrès Chris Marker Yannick Bellon Documentário Arquivo Memória Nicole Vedrès Chris Marker Yannick Bellon |
topic |
Documentary Archive Memory Nicole Vedrès Chris Marker Yannick Bellon Documentário Arquivo Memória Nicole Vedrès Chris Marker Yannick Bellon |
description |
This article explores two compilation films, Paris 1900 (Nicole Vedrès, 1946) and Le souvenir d’un avenir (Chris Marker and Yannick Bellon, 2001), with the purpose of making a comparative analysis focusing particularly on the way both films, in approaching the same themes, places their enunciative strategies in the sense of creating in the viewer the sensation of a double layered temporality of the images. The methodology is based on film analysis and discourse analysis. It also employs theories by Bazin, Didi-Huberman, Rancière and works on reemployment of found footage in films. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-01-30 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Avaliado pelos pares |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.revistas.usp.br/significacao/article/view/168468 10.11606/issn.2316-7114.sig.2021.168468 |
url |
https://www.revistas.usp.br/significacao/article/view/168468 |
identifier_str_mv |
10.11606/issn.2316-7114.sig.2021.168468 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.revistas.usp.br/significacao/article/view/168468/168396 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2021 Liciane Timoteo de Mamede http://creativecommons.org/licenses/by-nc/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2021 Liciane Timoteo de Mamede http://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 de São Paulo. Escola de Comunicações e Artes |
publisher.none.fl_str_mv |
Universidade de São Paulo. Escola de Comunicações e Artes |
dc.source.none.fl_str_mv |
Significação: Journal of Audiovisual Culture; Vol. 48 No. 55 (2021); 231-249 Significação: Revista de Cultura Audiovisual; v. 48 n. 55 (2021); 231-249 2316-7114 1516-4330 reponame:Significação (Online) instname:Universidade de São Paulo (USP) instacron:USP |
instname_str |
Universidade de São Paulo (USP) |
instacron_str |
USP |
institution |
USP |
reponame_str |
Significação (Online) |
collection |
Significação (Online) |
repository.name.fl_str_mv |
Significação (Online) - Universidade de São Paulo (USP) |
repository.mail.fl_str_mv |
||significacao@usp.br |
_version_ |
1787713788353445888 |