published_or_final_version / Literary and Cultural Studies / Master / Master of Arts

published_or_final_version / abstract / Humanities / Master / Master of Philosophy

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 70-71).

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 70-71). Also available in print.

Made available in DSpace on 2015-05-14T16:52:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2014Bitstream added on 2015-05-14T16:59:43Z : No. of bitstreams: 1 000822188.pdf: 703807 bytes, checksum: 06690f91e7efbc4dfefb6d3f4a5e3ec3 (MD5) / Este estudo discute a inserção das memórias e do cinema no campo de trabalho dos historiadores, com o propósito de afirmar o valor das fontes orais e audiovisuais para a escrita da história. Investigamos questões de natureza teórico-metodológica e consideramos que as renovações historiográficas ocorridas no século XX possibilitaram outras interpretações do passado e permitiram que os pesquisadores estabelecessem novos procedimentos metodológicos diante de uma variedade de temas e objetos. Apresentamos uma reflexão sobre as características dos documentários examinando o diálogo que a história estabeleceu com o cinema e criticando as noções que os historiadores possuem sobre os temas da visualidade. Avaliamos o uso das fontes não escritas para a produção historiográfica através do filme O Fim e o Princípio, de Eduardo Coutinho (2005) e fundamentamos nossa análise nas memórias e nas narrativas dos personagens do documentário. Compreendemos que o esquecimento e a lembrança integram a mesma dinâmica e que a memória coletiva está ancorada em quadros sociais, mas admitimos a existência de uma memória individual e de uma intuição sensível que age espontaneamente em nossas lembranças. / This study discusses about the integration of memories and film in the field of the historians work, in order to affirm the value of oral and audiovisuals sources for the writing of history. We Investigated theoretical and methodological issues we consider the nature and historiographical renovations occurred in the twentieth century allowed others interpretations about the past and allowed researchers to establish new methodological procedures on a variety themes and objects. Here is a reflection on the characteristics of documentaries examining the dialogue that history established with cinema and criticizing the notions that the historians have about the issues of visuality. We evaluated the use of unwritten for historiographical production through the movie O Fim e o Princípio, from Eduardo Coutinho (2005). We based our analysis on the memories and narratives of the characters of the documentary. We understood that the forgetting and remembering part of the same dynamic and that the collective memory is anchored in social settings, but we admit the existence of an individual memory and a sensible intuition that acts spontaneously in our memories.

Orientador: Paulo Eduardo Teixeira / Banca: Célia Aparecida Ferreira Tolentino / Banca: Alessandro Constantino Gamo / Resumo: Este estudo discute a inserção das memórias e do cinema no campo de trabalho dos historiadores, com o propósito de afirmar o valor das fontes orais e audiovisuais para a escrita da história. Investigamos questões de natureza teórico-metodológica e consideramos que as renovações historiográficas ocorridas no século XX possibilitaram outras interpretações do passado e permitiram que os pesquisadores estabelecessem novos procedimentos metodológicos diante de uma variedade de temas e objetos. Apresentamos uma reflexão sobre as características dos documentários examinando o diálogo que a história estabeleceu com o cinema e criticando as noções que os historiadores possuem sobre os temas da visualidade. Avaliamos o uso das fontes não escritas para a produção historiográfica através do filme O Fim e o Princípio, de Eduardo Coutinho (2005) e fundamentamos nossa análise nas memórias e nas narrativas dos personagens do documentário. Compreendemos que o esquecimento e a lembrança integram a mesma dinâmica e que a memória coletiva está ancorada em quadros sociais, mas admitimos a existência de uma memória individual e de uma intuição sensível que age espontaneamente em nossas lembranças. / Abstract: This study discusses about the integration of memories and film in the field of the historians work, in order to affirm the value of oral and audiovisuals sources for the writing of history. We Investigated theoretical and methodological issues we consider the nature and historiographical renovations occurred in the twentieth century allowed others interpretations about the past and allowed researchers to establish new methodological procedures on a variety themes and objects. Here is a reflection on the characteristics of documentaries examining the dialogue that history established with cinema and criticizing the notions that the historians have about the issues of visuality. We evaluated the use of unwritten for historiographical production through the movie O Fim e o Princípio, from Eduardo Coutinho (2005). We based our analysis on the memories and narratives of the characters of the documentary. We understood that the forgetting and remembering part of the same dynamic and that the collective memory is anchored in social settings, but we admit the existence of an individual memory and a sensible intuition that acts spontaneously in our memories. / Mestre

Thesis (M. Phil.)--University of Hong Kong, 2008. / Also available in print.

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Johannesburg, 2015 / This research looks at home video footage and family photographs as part of the visual portrait of a curated record of the autobiographical self. The research includes a written thesis exploring the theoretical concerns and provides a reflexive analysis of the creative component of the PhD, which is a 60-minute documentary film. The research, both creative and written, assesses how autobiographical memory is informed and shaped by home video recordings, and how new digital formats have allowed home video to collapse the boundaries between the personal and the public. It also explores how personal narratives speak to the wider socio-political and cultural concerns of a particular time. These ‘collapses’ between boundaries provide a playful, pluralistic approach to a history of the self. The many paradigms that coexist within the work – the past and the present, time and space, previously accepted narratives and newly formed ones – do not exist as binary to each other, but rather exist in conversation with each other and serves to explore the ever elastic subject/object dichotomy. The autobiographical film is titled Fraternal, with the tagline ‘The future isn’t like it used to be’. It tells the emotional story of the relationships between myself and my twin, and our parents – the hellos and goodbyes, arrivals and departures, beginnings and endings that happen within family ties. The film is set against the backdrop of the political situation in southern Africa during the 1980s and 1990s. It is cut predominantly from personal home video footage: a mixture of Super 8mm, Hi8 and DV footage shot largely between 1984 and 1994 in Zimbabwe and South Africa