Banca de DEFESA: BRUNO MESQUITA MALTA DE ALENCAR

Uma banca de DEFESA de MESTRADO foi cadastrada pelo programa.
STUDENT : BRUNO MESQUITA MALTA DE ALENCAR
DATE: 16/12/2022
TIME: 10:00
LOCAL: Videoconferência Via Google Meet (Pandemia Covid19)
TITLE:

Historical recovery and images in formation: secret affinities in Víctor Erice&39; cinema.

KEY WORDS:

cinema; Víctor Erice; history; visualities; image.

PAGES: 150
BIG AREA: Ciências Sociais Aplicadas
AREA: Comunicação
SUMMARY:

The dissertation has as its object of study the cinema of Víctor Erice, aiming at an understanding of its relations with history. For this, it lists as the elements that make up the corpus of the research the feature film O Espírito da Colmeia (1973) and the short film Alumbramiento (2002). The films are temporally situated at the dawn of the Francoist Regime, shortly after the end of the Spanish Civil War, being geographically set in villages located in the rural area of the north of the country. Our hypothesis is that his images, although consisting of fictional representations of the past, are renegotiated by strategies that unsettle the naturalism of the representation. With the intention of sustaining it, we affirm that it is as if Erice's cinema relates to history in terms of an experience that them constitutes, risking each other as parts of this process and refusing an essentialism of “form” and “content” to be transposed by the films. Morphologically, we will argue that this happens through the friction of the borders between the narrative forms through which it images become visible, such as the registers of realism and fantasy, so that are established intimacy relations between the heterogeneous elements that conventionalize them, such as the real events contemporary of the realization, and the fictional substrates that weave the narratives. Instrumentalizing the discussions by Jean Louis Comolli on deviations in cinematographic representation systems, the analyzes by Carl Einstein and Georges Bataille on the “dialectic - without synthesis - of forms” that overdetermines and implies with anachronisms the visual experience, and the category of apprehension of the historical time that Walter Benjamin calls “origin”, we argue that Erice's cinema, through its imagery morphology, reveals and produces in its historical rescue “secret affinities” between a Spain that saw the dawn of the Francoist Regime and the one that strives to come to terms with its eclipse.

COMMITTEE MEMBERS:
Presidente - 1134091 - ANGELA FREIRE PRYSTHON
Externa ao Programa - 1025436 - CATARINA AMORIM DE OLIVEIRA ANDRADE - nullInterna - 3227594 - CRISTINA TEIXEIRA VIEIRA DE MELO