Publicação
A Imagem Fora do (seu) Tempo
| Resumo: | This theoretical and practical research was developed at the crossroads of artistic practice and critical thinking, anchored on the creation of a series of audiovisual works - including the film Colónia Agrícola da Gafanha no (Seu) Tempo (trans. Gafanha Farming Colony In (its) Time) - which explore the relationship between image, time, memory and archive. The project arises from a sensorial immersion in the territory of the Colónia Agrícola da Gafanha (Gafanha Farming Colony), a place marked by its unique history and landscape, and proposes a critical revisiting of its history through a filmic language that challenges hegemonic narratives, the central issue being that of the time of the image.The image is seen here as unstable and living matter, not as a mere record or document, but as a vehicle for the survival of the past in the present - a concept that is central to Georges Didi-Huberman's notion of the surviving image. This idea is worked out through a filmic practice that uses time as an aesthetic and political operator. The films overlap different temporalities — archive images, contemporary footage, oral memories —, resulting in fragmentary narratives, marked by silences, interruptions and juxtapositions, in a logic close to Gilles Deleuze's concept of the crystal-image, in which the current and the virtual, the present and the past intersect.The research questions the possibilities of cinema and image as means to the symbolic reorganisation of memory. Montage is used as an archaeological and political gesture, allowing for the construction of visual constellations that resist historical linearity. This approach is, then, articulated with Walter Benjamin’s ideas on dialectical time and Michel Foucault’s on the archive as a device of power and discursive selection. Jacques Derrida, for his part, contributes by problematising the archive fever and the forces that regulate what is remembered and what is forgotten.On an artistic level, the research maintains a dialogue with the works and methodologies of various artists who operate, or operated, on the notions of place, memory and document. The structuring references of this research are the works of Hamish Fulton, due to his relationship with walking and territory; Walker Evans and Bernd & Hilla Becher, for their systematic look at space and its documentary value; Stan Douglas, regarding his historical re-enactment and temporal montage; and Susana de Sousa Dias, whose cinematographic practice calls on archival images to evoke layers of time and experience. These artists are not just mentioned; they are also echoed in the works accompanying this thesis, whose artistic methodology, based on the collection of images, sounds and testimonies, is affirmed as an exercise in temporal excavation.From a conceptual point of view, time is approached as a plastic and experiential phenomenon. Inspired by Mary Ann Doane's concepts of cinematic time, André Bazin's ontological realism of the image and Maurice Merleau-Ponty's phenomenology of perception, this thesis investigates how the cinematic image can capture and produce different forms of temporality, revealing itself as a sensitive device for inscribing time.The artistic practice carried out throughout this doctorate resulted in eight works — seven films and one installation —, which develop different strategies of relating to the archive, landscape and memory. The main film, A Colónia Agrícola da Gafanha no (Seu) Tempo, condenses and reconfigures this path, proposing a poetic and critical reading of local history, where time is simultaneously a theme, a subject and a method.To summarise, this research proposes artistic practice as a way of thinking and of creating knowledge about time and memory. Through image, montage and listening, an aesthetic and political device is constructed; one which questions history, destabilises the archive and invites the viewer to enter a space-time in which the past reappears in the present as trace, ruin and promise. |
|---|---|
| Autores principais: | Almeida, Mário Manuel Ferreira de |
| Assunto: | Cinema Colónia Imagem Memória Tempo Cinema Colony Image Memory Time |
| Ano: | 2026 |
| País: | Portugal |
| Tipo de documento: | tese de doutoramento |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade de Coimbra |
| Idioma: | português |
| Origem: | Estudo Geral - Universidade de Coimbra |
| Resumo: | This theoretical and practical research was developed at the crossroads of artistic practice and critical thinking, anchored on the creation of a series of audiovisual works - including the film Colónia Agrícola da Gafanha no (Seu) Tempo (trans. Gafanha Farming Colony In (its) Time) - which explore the relationship between image, time, memory and archive. The project arises from a sensorial immersion in the territory of the Colónia Agrícola da Gafanha (Gafanha Farming Colony), a place marked by its unique history and landscape, and proposes a critical revisiting of its history through a filmic language that challenges hegemonic narratives, the central issue being that of the time of the image.The image is seen here as unstable and living matter, not as a mere record or document, but as a vehicle for the survival of the past in the present - a concept that is central to Georges Didi-Huberman's notion of the surviving image. This idea is worked out through a filmic practice that uses time as an aesthetic and political operator. The films overlap different temporalities — archive images, contemporary footage, oral memories —, resulting in fragmentary narratives, marked by silences, interruptions and juxtapositions, in a logic close to Gilles Deleuze's concept of the crystal-image, in which the current and the virtual, the present and the past intersect.The research questions the possibilities of cinema and image as means to the symbolic reorganisation of memory. Montage is used as an archaeological and political gesture, allowing for the construction of visual constellations that resist historical linearity. This approach is, then, articulated with Walter Benjamin’s ideas on dialectical time and Michel Foucault’s on the archive as a device of power and discursive selection. Jacques Derrida, for his part, contributes by problematising the archive fever and the forces that regulate what is remembered and what is forgotten.On an artistic level, the research maintains a dialogue with the works and methodologies of various artists who operate, or operated, on the notions of place, memory and document. The structuring references of this research are the works of Hamish Fulton, due to his relationship with walking and territory; Walker Evans and Bernd & Hilla Becher, for their systematic look at space and its documentary value; Stan Douglas, regarding his historical re-enactment and temporal montage; and Susana de Sousa Dias, whose cinematographic practice calls on archival images to evoke layers of time and experience. These artists are not just mentioned; they are also echoed in the works accompanying this thesis, whose artistic methodology, based on the collection of images, sounds and testimonies, is affirmed as an exercise in temporal excavation.From a conceptual point of view, time is approached as a plastic and experiential phenomenon. Inspired by Mary Ann Doane's concepts of cinematic time, André Bazin's ontological realism of the image and Maurice Merleau-Ponty's phenomenology of perception, this thesis investigates how the cinematic image can capture and produce different forms of temporality, revealing itself as a sensitive device for inscribing time.The artistic practice carried out throughout this doctorate resulted in eight works — seven films and one installation —, which develop different strategies of relating to the archive, landscape and memory. The main film, A Colónia Agrícola da Gafanha no (Seu) Tempo, condenses and reconfigures this path, proposing a poetic and critical reading of local history, where time is simultaneously a theme, a subject and a method.To summarise, this research proposes artistic practice as a way of thinking and of creating knowledge about time and memory. Through image, montage and listening, an aesthetic and political device is constructed; one which questions history, destabilises the archive and invites the viewer to enter a space-time in which the past reappears in the present as trace, ruin and promise. |
|---|
Atividades financiadas
Não foram encontrados projetos financiados.