Este trabalho analisa os usos do material de arquivo, as construções discursivas e a visão historiográfica deles decorrentes em dois filmes dedicados a personagens da música popular brasileira, em particular do samba: o curta-metragem A voz e o vazio: A vez de Vassourinha (1998), de Carlos Adriano, e o longa-metragem Cartola, música para os olhos (2006), de Lírio Ferreira e Hilton Lacerda. Os dois filmes estão construídos a partir de uma perspectiva da estética found footage, com o material de arquivo operando como base indicial para novos arranjos de sentido na interpretação da história. A análise busca identificar os nexos criados pelas duas obras e a variada gama de diálogos culturais que podem ser inferidos de sua leitura. Em destaque, o lugar que a música popular ocupa na cultura urbana brasileira. Ao fazê-lo, o trabalho identifica matrizes estéticas comuns, como o cinema de invenção de Julio Bressane, mas que resultam em diferentes abordagens historiográficas: uma, signatária de uma visão pós-moderna; a outra, mais próxima a uma atualização da crônica histórica. / This dissertation analyses the use of archive material, the discursive constructions and the resulting historiographic vision in two films dedicated to personalities from Brazilian Popular Music, particularly from samba: the short film The voice and the void: Vassourinhas turn (1998), by Carlos Adriano, and the feature film Cartola, music for the eyes (2006), by Lírio Ferreira and Hilton Lacerda. Both films were assembled from the perspective of found footage aesthetic, in which the archive material indicates new arrangements of meaning for the interpretation of the story.The analysis aims to identify the nexuses created by the two works and the varied range of cultural dialogues that may be inferred from their interpretation. Special attention is given to the place of popular music in Brazilian urban culture. As a result, common aesthetic matrixes are identified, such as Julio Bressanes cinema of invention, resulting, however, in different historiographic approaches: one, signatory of a post-modern vision; the other, more similar to an update of historic chronicles.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-07T13:34:01Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_Sabrina_Biblioteca.pdf: 2155567 bytes, checksum: 337e57f90faddc74b2ff7ef66e72dfb4 (MD5) / Made available in DSpace on 2016-07-07T13:34:01Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_Sabrina_Biblioteca.pdf: 2155567 bytes, checksum: 337e57f90faddc74b2ff7ef66e72dfb4 (MD5) Previous issue date: 2015-03-17 / FACEPE / Found footage é uma regime estético que tem como base a apropriação de imagens preexistentes para a realização fílmica. Questões concernentes à reciclagem, ao arquivo e à memória são despertadas por essas obras. Além de tais temas, temos como objetivo investigar como os filmes experimentais em found footage relacionam-se com a confluência tecnológica imagética corrente, analisando a conexistência entre arquivos de distintos formatos e materialidades dentro de um mesmo espaço temporal. Para isso, investigaremos obras provenientes de distintas tecnologias, buscando evidenciar aspectos de representação mnemônica, narratividade histórica e as relações que esses filmes estabelecem com o arquivo. No início da pesquisa será realizado um mapeamento em torno das obras seminais do found footage. A partir disso, buscaremos delinear conexões estéticas e discursivas com a contemporaneidade e em seguida realizaremos uma releitura crítica sobre os conceitos de memória, narratividade histórica e arquivo. Após a releitura bibliográfica e histórica, seguiremos para a análise de filmes contemporâneos em found footage buscando, com isso, investigar as distintas formas através das quais o excesso imagético proporciona um segundo uso para as imagens tecnológicas. / Found footage is an aesthetic regime that has the appropriation of preexisting images as the main basis of the film realization. Questions concerning to the recycling, the archive and the memory are awaken by its works. Beyond this, we intend to investigate how found footage experimental movies relate with the current image technological confluence, analyzing the coexistence between archives of distinct formats and material inside the same temporary space. To this, we will investigate works from different technologies, searching to evidence aspects of mnemonic representation, historical narrative and the relations that found footage films establish with the archive. In the beginning of the research we will map the seminal works of found footage. From there, we intend to outline discursive and aesthetic connections with the contemporary works to later make a critic analysis of the concepts of memory, historic narrative and archive. In the end, we will follow to the bibliographic analysis and subsequently to the analysis of found footage contemporary films, in order to investigate the various ways in which the imagery excess provide a second use to the technical image.

Este trabalho analisa os usos do material de arquivo, as construções discursivas e a visão historiográfica deles decorrentes em dois filmes dedicados a personagens da música popular brasileira, em particular do samba: o curta-metragem A voz e o vazio: A vez de Vassourinha (1998), de Carlos Adriano, e o longa-metragem Cartola, música para os olhos (2006), de Lírio Ferreira e Hilton Lacerda. Os dois filmes estão construídos a partir de uma perspectiva da estética found footage, com o material de arquivo operando como base indicial para novos arranjos de sentido na interpretação da história. A análise busca identificar os nexos criados pelas duas obras e a variada gama de diálogos culturais que podem ser inferidos de sua leitura. Em destaque, o lugar que a música popular ocupa na cultura urbana brasileira. Ao fazê-lo, o trabalho identifica matrizes estéticas comuns, como o cinema de invenção de Julio Bressane, mas que resultam em diferentes abordagens historiográficas: uma, signatária de uma visão pós-moderna; a outra, mais próxima a uma atualização da crônica histórica. / This dissertation analyses the use of archive material, the discursive constructions and the resulting historiographic vision in two films dedicated to personalities from Brazilian Popular Music, particularly from samba: the short film The voice and the void: Vassourinhas turn (1998), by Carlos Adriano, and the feature film Cartola, music for the eyes (2006), by Lírio Ferreira and Hilton Lacerda. Both films were assembled from the perspective of found footage aesthetic, in which the archive material indicates new arrangements of meaning for the interpretation of the story.The analysis aims to identify the nexuses created by the two works and the varied range of cultural dialogues that may be inferred from their interpretation. Special attention is given to the place of popular music in Brazilian urban culture. As a result, common aesthetic matrixes are identified, such as Julio Bressanes cinema of invention, resulting, however, in different historiographic approaches: one, signatory of a post-modern vision; the other, more similar to an update of historic chronicles.

À partir de l’œuvre du cinéaste et artiste hongrois Péter Forgács, la thèse aborde plus généralement la question du remontage de films amateurs dans le documentaire contemporain et examine les enjeux esthétiques, historiques et politiques du remploi des films de famille. Les concepts de déterritorialisation et de reterritorialisation développés par Gilles Deleuze et Félix Guattari nous permettent d’interroger la manière dont la pratique « archéologique » du remontage ouvre les films de famille à de multiples resignifications. Comment traversent-ils des territoires esthétiques, géographiques, institutionnels et politiques, de mémoire, d’histoire et de pensée ? Comment, à travers le temps, les histoires que contiennent ces rouleaux des pellicules substandard sont-elles traversées par l’Histoire ? Comment ces films peuvent-ils, rétrospectivement, subvertir la construction officielle de l’histoire et de la mémoire et renégocier la perception du temps historique ? Quelle métahistoire construisent-ils ?L’analyse de la déterritorialisation et de la reterritorialisation des films de famille par le remploi, nous permet d’interroger la manière dont la pratique du remontage crée un nouveau territoire cinématographique, où la mémoire et l’histoire du passé comme de l’avenir peuvent être creusées dans et par l’image. Ici apparaissent les enjeux poét(h)iques et politiques du remploi. / Through the work of Hungarian artist and filmmaker Péter Forgács, the thesis addresses the question of the reuse (remontage) of amateur films in contemporary documentary and examines the aesthetic, historical and political implications of the appropriation of home movies. The concepts of deterritorialization and reterritorialization developed by Gilles Deleuze and Félix Guattari allow us to question how the “archeological” practice of reassembly exposes home movies to multiple significations. How can they traverse aesthetic, geographical, institutional and political territories as well as territories of memory, history and thought? How are the stories contained in these rolls of substandard film traversed by History? How can these films subvert the official construction of history and memory and renegotiate the perception of historical time? What metahistory do they establish?The analysis of deterritorialization and reterritorialization of home movies allows us to question how the practice of reassembly creates a new cinematographic territory, in which memory and history of the past, as of the future, can be mined in and by the image. Thus remontage implicates poet(h)ical and political issues.

[pt] Com base na experiência do autor como realizador de filmes feitos com imagens encontradas -found footage-, a dissertação procura identificar as razões que levam cineastas inseridos em um contexto social contemporâneo a dispensarem registros cinematográficos autorais e optarem por fragmentos de formatos e origens diversos. Parte-se do pressuposto de que a escolha da imagem do outro potencializa liberdade poética e conceitual ao artista em seu discurso sobre os tempos atuais e expressos nos filmes montados a partir da apropriação de imagens-ruína. Nesse movimento, busca-se a identidade fraturada, característica que se acentua na produção cinematográfica a partir dos anos 90, concomitante ao processo de revisão histórica pela qual o mundo passa. Nesse âmbito, as noções de apropriação, ressignificação, modernidade, ruína, memória e arquivo serão vistas sob a perspectiva histórica e da prática cinematográfica. / [en] Based on the author s experience as a director of found footage films, the current dissertation aims at identifying the reasons that induce filmmakers within a contemporary social context to set aside authorial cinematographic records in order to embrace fragments of several shapes and origins. This study is based on the supposition that the image of the Other is chosen due to reinforce both poetic and conceptual freedom of the artist, whose discourse lies on the present times, as shown in the films edited with appropriate ruin-images. In this movement, I try to explore the fractured identity, a characteristic that is accentuated in film productions since the 1990s, simultaneously with the historical review process the world hás been going through since then. In this context, the notions of appropriation, resignification, modernity, ruin, and archival are addressed under the historical perspective and cinematic practice.

[pt] Esta pesquisa investiga as relações formais e conceituais entre o uso de imagens de arquivo e o gesto ensaístico a partir de três eixos: o ensaísmo no uso das imagens de arquivo; a linguagem cinematográfica como ferramenta política; e reflexões sobre o arquivo nas práticas de contra-arquivo. Através de uma abordagem transdisciplinar e do cruzamento entre reflexões sobre cinema, arquivo, história e política, procuro oferecer respostas às perguntas: como o uso de imagens de arquivo pode ser um dispositivo para o filme-ensaio? E como a arte, em especial, o cinema pode colaborar na luta contra regimes hegemônicos? / [en] This research investigates the formal and conceptual relationships between the use of archive images and the essayistic gesture based on three axes: essayism in the use of archive images; cinematographic language as a political tool; and reflections on the archive in the light of counter-archive practices. Through a transdisciplinary approach and in the intersection of discussions on cinema, archives, history and politics, I try to offer answers to the following questions: how the use of archival images can become a device for the essay film? And how can art, and in particular cinema, contribute to the battle against hegemonic regimes?

This paper is an exploration of the concepts and motivations behind the video installation and performance that made up my MFA Thesis Exhibition. My primary interest as a filmmaker is in the “invisible art” of editing. In my practice I employ iconic imagery such as old home movies and classic Hollywood films, as my source material. This “found footage” is deconstructed, drastically altered, and reassembled into a new movie that tells my story while still maintaining the memory of the original images. My process and philosophy concerning the salvage and repurposing of video is analyzed and discussed. I also examine my experience in translating video editing into a live improvisational performance.

Cette thèse s’efforce de penser le remploi d’archives comme un acte de création qui signale une possibilité fondamentale du medium filmique, à même d’exercer un retour à sa propre matérialité. Pour ce faire, elle s’appuie sur l’analyse de trois films contemporains - X+ (2010) de Marylène Negro, The Uprising (2012) de Peter Snowdon et Pays barbare (2013) de Yervant Gianikian et Angela Ricci Lucchi. L’hypothèse que cette recherche entend vérifier est qu’il n’y a de cinéma que de seconde main. A partir d’une lecture des thèses de Benjamin sur le langage et la traduction, la reprise et la répétition au principe de toute expression filmique sont étudiées comme les conditions requises pour que puissent émerger des formes radicalement neuves. Les propositions filmiques analysées, en travaillant des formes fragmentaires ou en explorant la dimension polyrythmique du remploi d’images, invitent à envisager l’écran et au-delà l’archive elle-même comme des opérateurs de l’événement. Reposant sur une dimension dialogique et relationnelle de l’image filmique, le montage d’archive est indissociablement poétique et politique. Les formes qu’en proposent les artistes étudiés invitent à considérer d’un même tenant pratique filmique, archéologie des techniques et histoire des peuples. Le remploi d’archives opère un acte duel : manifester ce que le monde a été et dire dans le même temps ce qu’il peut devenir. Le montage d’archives se comprend alors comme un geste exécuté au présent, pour le présent, à travers lequel pointe l’image d’un monde ouvert. / Based on the analysis of three contemporary films (X+ by Marylène Negro, Pays barbare by Yervant Gianikian and Angela Ricci Lucchi, The Uprising by Peter Snowdon), this PhD aims to reconsider the found footage practice as a creative act that points to a fundamental potential of cinematographic media to perform a feedback on its own materiality. This PhD states as an initial hypothesis that all cinema is a second hand cinema. Using as a starting point Walter Benjamin’s works on language and translation, the reemployment and the repetition as principle of every filmic expression are considered as essential conditions for the rise of radically new forms. The topic follows three main lines : forms, rhythm and events. Theses issues are tackled in order to highlight that the cinematographic works analysed in this PhD – combining fragmentary forms or exploring the polyrhythmic dimension of found footage - allow to consider the screen and further more, the archive itself, as agents of the event. Based on the dialogic and relational dimension of moving image, the archive editing is inextricably poetic and political. Hence cinematographic practice, archaeology of techniques and political history are considered as fundamental materials by the filmmakers studied in this PhD. The reemployment as used by these artists operate a dual act : show the world as it has been and in the mean time say what this world could become. The archive editing can thus be understood as a gesture performed in the present time, for the present, a gesture that reveals the image of a world full of possibilities.

Le projet de doctorat dès arts Le cinéaste comme archiviste explore à l’aide de matériel d’archives existant le lien entre les représentations objective et artistique de l’histoire. Cette recherche s’appuie sur la collection de films d’archives consacrés à Bruxelles conservée à la Cinémathèque royale de Belgique (Cinematek). J’ai utilisé ce matériel d’archives de diverses manières au cours de ma recherche artistique.Un premier défi a consisté à établir, pour le DVD Bruxelles, ville en images, une sélection de films d’archives parmi la collection de la Cinematek consacrée à Bruxelles. Une sélection qui illustre le passé de Bruxelles, dans une perspective historique et esthétique. En tant que scénariste duDVD, j’ai joué le rôle d’archiviste, restant en ce sens fidèle au matériel original, d’un point de vue tant historique qu’esthétique.Au double titre de chercheur et réalisateur, j’ai entrevu un autre défi: réaliser un film de fiction basé sur ce même matériel d’archives consacré à Bruxelles. Il en est résulté le film en found footage Night has come, conçu comme une mosaïque de souvenirs du protagoniste. Le matérield’archives donne une forme visuelle à ces souvenirs. La façon dont le film matérialise les souvenirs est une métaphore du fonctionnement de la mémoire. Celle du protagoniste n’est pas univoque; ses souvenirs sont en proie à la sélection, à la distorsion, à la fragmentation, à la répétition et à l’oubli.Enfin, un troisième défi résidait dans l’écriture du livre Restitution. Tout en y relatant la vie de Raymond Devaux, le réalisateur d’une série de films familiaux que j’ai utilisés dans le long métrage Night has come, j’y explore le rapport entre fiction historique et histoire dans la représentation des sources historiques. J’explore également le rapport entre fiction et vérité en faisant appel à des sources virtuelles, comme le manuscrit de Raymond Devaux que j’ai moi-même écrit, ou au matériel existant qui prend une nouvelle signification dans un autre contexte, comme Tipping Point, ma série de portraits que Devaux aurait peints. / Doctorat en Art et Sciences de l'Art / Les œuvres artistiques suivantes appartiennent à cette thèse :- Le Film Night has come (63 min.)- Le livre Restitutie (71 pages)- La série de peintures 'Tipping Point' (14) / Cotutelle également réalisée au sein de la ERASMUSHOGESCHOOL BRUSSEL / info:eu-repo/semantics/nonPublished

La recherche interroge la valorisation des archives du Nederlands Filmmuseum [NFM] à partir du travail de compilation du cinéaste Peter Delpeut. Ce corpus de dix films [1989-1999] se situe à cheval entre deux ambitions qui ne sont pas toujours compatibles, entre une volonté d’archiviste de rendre accessible des films muets [1895-1931] parfois de simples fragments, en restituant leur couleur, en créant une sonorisation et une quête artistique, plus personnel et liée à un cinéaste. Convoquant des sources audiovisuelles mais également écrites et orales, il s’agit d’abord de se demander comment le NFM en vient à produire ces compilations afin de mettre en valeur ses collections, de tracer l’histoire de cette cinémathèque et de suivre la trajectoire de Delpeut, en somme de comprendre la rencontre entre cet homme riche d’une expérience de recherche, de critique et de réalisation et une institution en plein bouleversement de sa philosophie dans les années 1990. Le questionnement s’oriente ensuite sur le processus de fabrication lui-même et de la façon dont fonctionnent ces compilations en vue de montrer comment elles sont prises en tension entre le sensoriel et l’analytique, étant au-delà et en deçà d’une stricte valorisation des films muets du NFM. La dernière partie interroge les usages des compilations, la manière dont elles sont liées à la politique de programmation du NFM, comment elles affectent la dynamique de l’institution et du cinéaste, mais aussi comment elles sortent du cadre de la cinémathèque, évaluant à chaque fois les apports et les limites en terme de transmission d’un patrimoine cinématographique. / The research examines the promotion of film archives from the Netherlands Filmmuseum [NFM] through Peter Delpeut’s compilation work. These ten films [1989-1999] are between two directions that are not always in compatibility, on one side an artistic cinematic search and on the other side the archivist’s will of giving access to silent films [1895-1931] that are in fragments, in colour and with a sound creation. Using audiovisual, written and oral sources, the first interest is to focus on whether how the NFM comes to produce these compilations for promoting its collections, lining out the history of this film archive and following Delpeut’s career, to understand the meeting between a man with great experience as researcher, critic and filmmaker and an institution challenging its philosophy during the 1990’s. The research then examines the process of filmmaking itself and functioning of this compilation work to show that there is a tension between sensorial and analytical terms, over the borderline of a strict promotion of NFM’s silent films. The last part explores the utilisation of these compilations, the way they are related to Museum’s programming politics, how they affect this institution and Delpeut’s dynamics, beyond the film archive, each time evaluating the contributions and limitations for the transmission of silent cinema heritage