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Doctoral Thesis
DOI
https://doi.org/10.11606/T.8.2018.tde-25092018-125808
Document
Author
Full name
Fernando Seliprandy Fernandes
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2018
Supervisor
Committee
Eugênio, Marcos Francisco Napolitano de (President)
Capelato, Maria Helena Rolim
Dávila, Ignacio Del Valle
Lusnich, Ana Laura
Morettin, Eduardo Victorio
Title in Portuguese
Documentário e memória intergeracional das ditaduras do Cone Sul
Keywords in Portuguese
Cinema
Cone Sul
Ditadura
Documentário
Filhos
Memória
Pós-memória
Abstract in Portuguese
O objeto da pesquisa é o cinema documental contemporâneo ligado aos descendentes de militantes de esquerda vítimas das ditaduras do Cone Sul. Desde fins dos anos 1990, ganha relevo na região a produção de documentários dirigidos ou protagonizados por filho(a)s, sobrinho(a)s ou neto(a)s daqueles que se opuseram aos regimes autoritários vigentes entre as décadas de 1960 e 1980. Nessa filmografia, as histórias de resistência e repressão vividas pela geração anterior são revistas pelas gerações mais jovens pelo enfoque familiar e íntimo. A tendência se manifesta na Argentina, no Chile, no Brasil, no Uruguai e no Paraguai, no âmbito de um fenômeno de memória intergeracional mais vasto, que abrange outras expressões artísticas além de outras conjunturas traumáticas. Quatro títulos compõem o corpus principal do trabalho: Diário de uma busca (Flavia Castro, Brasil / França, 2010); Los rubios (Albertina Carri, Argentina, 2003); Mi vida con Carlos (Germán Berger-Hertz, Chile / Espanha, 2009); Os dias com ele (Maria Clara Escobar, Brasil / Portugal, 2013). Metodologicamente, a argumentação confronta a análise dessas obras específicas com um corpus fílmico expandido e outros materiais externos, construindo uma abordagem global e nuançada sobre as expressões da memória intergeracional nesse documentarismo. Quatro objetivos centrais guiam as reflexões, desdobrando aspectos salientes nos títulos do corpus principal. Respectivamente: descrever a formação dessa filmografia ao longo dos anos, examinando as dinâmicas transnacionais e temporais em jogo, bem como os influxos exercidos pelos festivais de cinema e pela escrita acadêmica nesse processo; ampliar o debate sobre o circuito de interações entre as gerações, destacando o papel ativo dos descendentes e abarcando vetores de memória que extrapolam a transmissão de um legado traumático; delinear o repertório de formas cinematográficas e narrativas dessa produção, rastreando paralelismos, matizes, contradições estéticas e lugares de enunciação da primeira pessoa; interpretar aquilo que a representação audiovisual testemunha sobre o peso do passado e sua ancoragem em um presente ainda marcado pelo autoritarismo. A investigação indaga as balizas conceituais desse campo de estudos para descortinar um fenômeno denso em sua historicidade, com imagens carregadas de conexões transnacionais, transferências culturais, tensões formais e nexos referenciais. O resultado final é um quadro multifacetado do documentarismo intergeracional do Cone Sul, com perspectivas renovadas pelo prisma da subjetividade e dos afetos, mas no qual também se plasmam novas fórmulas da memória.
Title in English
Documentary and intergenerational memory of the Southern Cone dictatorships
Keywords in English
Children
Cinema
Dictatorship
Documentary
Memory
Postmemory
Southern Cone
Abstract in English
The subject of this research is the documentary filmmaking related to descendants of leftist militants who were victims of Southern Cone dictatorships. Since the late 1990s, there has been a significant production of documentaries directed by or focused on children, nephews, nieces or grandchildren of those who opposed authoritarian regimes in the region from the 1960s to the 1980s. In this filmography, histories of repression and resistance experienced by the previous generation are revisited by the younger generations from a familiar and intimate point of view. Nonfiction works of this type have been released in Argentina, Chile, Brazil, Uruguay, and Paraguay, inside a broader cultural framework of intergenerational remembrances that reaches out other forms of artistic expressions besides other traumatic historical contexts. The main corpus of this investigation includes four documentaries: Diary, letters, revolutions (Flavia Castro, Brazil / France, 2010); The blonds (Albertina Carri, Argentina, 2003); My life with Carlos (Germán Berger-Hertz, Chile / Spain, 2009); The days with him (Maria Clara Escobar, Brazil / Portugal, 2013). Methodologically, the argumentation contrasts the analysis of these specific works with an expanded filmic corpus and other external materials, constructing a global and nuanced overview of the intergenerational memory expressions in this documentary production. Four key objectives are pursued, developing central aspects identified in each title of the main corpus. Respectively: to describe the formation of this filmography over the years, considering the transnational and temporal dynamics at stake, as well as the role of both film festivals and academic writing in this process; to broaden discussions about the interactions circuit between the generations, emphasizing the descendants agency and embracing memory vectors far beyond the transmission of a traumatic burden; to outline the range of cinematographic and narrative forms used in the films, scrutinizing aesthetics parallels, variations and contradictions, along with the locus of enunciation of the first person; to decipher what audiovisual representation testifies about the weight of the past and its concrete links with a present still marked by authoritarian legacies. The research inquires the conceptual assumptions of this field of studies in order to bring to light the historicity of a dense phenomenon, whose images are full of transnational connections, cultural transfers, formal tensions, and referential grounds. The outcome is a multiform portrait of the intergenerational documentary made in the Southern Cone, with renewed perspectives derived from the subjective and affective viewpoint, but in which new memory patterns also start to get shaped.
 
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Publishing Date
2018-09-25
 
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