Publicação
Mimese Negativa: A superação da realidade através do arquivo nas obras de Artavazd Pelechian, Harun Farocki e Peter Tscherkassky (1969-1999).
| Resumo: | This dissertation proposes, in a first phase, to analyze, from an aesthetically and sociologically informed level, three case studies, cinematographic works selectively chosen for their particular formal characteristics, namely, Menq (1969) by Artavazd Pelechian, Wie man sieht (1986) by Harun Farocki and Outer Space (1999) by Peter Tscherkassky, whose common point is identified by the use of so-called found-footage, a technique that uses materials of all types (photographs, maps, drafts, drawings, etc.), safeguarded by a transcendent category of archive, in which we can infer a collection, treatment and assembly with the purpose of constituting the entirety of the cinematographic object, a truly original aesthetic that we propose, in effect, in a second phase, to discuss with respect to its formal principles, using two substantial sources of a philosophical and literary nature, namely, respectively, Ästhetische Theorie (1970) by Theodor Adorno, a posthumous book that brings together the author's last reflections on this subject, as well as Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur (1946) by Erich Auerbach, a monumental book that covers a set of texts from Western literature. Therefore, here the argument will be presented that these works constitute, through their positive use of materials supported by matrices of reality, using various methods of exhibition and montage to complicate the assumptions inscribed in them, an exercise guided above all by negation and, therefore, consequently, the overcoming of the bonds established in modern societies. |
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| Autores principais: | Ferreira, Tiago João Lopes |
| Assunto: | cinema found-footage archive memory property cinema found-footage arquivo memória propriedade |
| Ano: | 2024 |
| País: | Portugal |
| Tipo de documento: | dissertação de mestrado |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Coimbra |
| Idioma: | português |
| Origem: | Estudo Geral - Universidade de Coimbra |
| Resumo: | This dissertation proposes, in a first phase, to analyze, from an aesthetically and sociologically informed level, three case studies, cinematographic works selectively chosen for their particular formal characteristics, namely, Menq (1969) by Artavazd Pelechian, Wie man sieht (1986) by Harun Farocki and Outer Space (1999) by Peter Tscherkassky, whose common point is identified by the use of so-called found-footage, a technique that uses materials of all types (photographs, maps, drafts, drawings, etc.), safeguarded by a transcendent category of archive, in which we can infer a collection, treatment and assembly with the purpose of constituting the entirety of the cinematographic object, a truly original aesthetic that we propose, in effect, in a second phase, to discuss with respect to its formal principles, using two substantial sources of a philosophical and literary nature, namely, respectively, Ästhetische Theorie (1970) by Theodor Adorno, a posthumous book that brings together the author's last reflections on this subject, as well as Mimesis: Dargestellte Wirklichkeit in der abendländischen Literatur (1946) by Erich Auerbach, a monumental book that covers a set of texts from Western literature. Therefore, here the argument will be presented that these works constitute, through their positive use of materials supported by matrices of reality, using various methods of exhibition and montage to complicate the assumptions inscribed in them, an exercise guided above all by negation and, therefore, consequently, the overcoming of the bonds established in modern societies. |
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Atividades financiadas
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