Made available in DSpace on 2016-06-02T20:23:13Z (GMT). No. of bitstreams: 1 4691.pdf: 2672221 bytes, checksum: 5c15554d9ac45df13043164fc0e2e67e (MD5) Previous issue date: 2012-05-02 / Financiadora de Estudos e Projetos / This work aims to discuss processes of self-representation in animated documentaries, from the analysis of the film Waltz with Bashir (Ari Folman, 2008). With this analysis, it seeks to understand modes of articulation between the field of documentary and animation, using elements of both as a possibility of self-representation in films that are related to the shared historic world. For this purpose, it develops a reflection on the establishment of different perspectives in the field of documentary studies and the ways available for animation to create representations. In addition, it dialogues with the various historical and conceptual approaches about the animated documentary, developed significantly over the past fifteen years. Finally, it develops a critical analysis of what Bill Nichols (1994) calls performative documentary and the considerations of Michael Renov (2004) about documentaries that deal with the autobiographical, to understand the animation as a way to put the director in history and establish a continuity with the past, weaving relationships between elements of documentary and animated images that provide other senses to the reported. / Esta dissertação tem como objetivo discutir processos de autorrepresentação em documentários animados, a partir da análise do filme Valsa com Bashir (Ari Folman, 2008). Com a análise deste longa-metragem, busca-se compreender modos de articulação entre o campo do documentário e o da animação, aproveitando elementos de ambos enquanto possibilidade de autorrepresentação em filmes que se remetem ao mundo histórico compartilhado. Para tanto, desenvolveu-se uma reflexão acerca do estabelecimento de diferentes perspectivas do campo do documentário nos estudos teóricos e as maneiras disponíveis à animação para criar representações. Além disso, dialoga-se com as várias abordagens históricas e conceituais acerca do documentário animado, que ganham corpo mais expressivo nos últimos quinze anos. Por fim, desenvolve-se uma leitura crítica das análises de Bill Nichols (1994) sobre os documentários performáticos e das considerações de Michael Renov (2004) acerca de documentários que lidam com o autobiográfico, para compreender a animação como uma forma do realizador se colocar na história e estabelecer uma continuidade com o passado, tecendo relações entre imagens animadas e elementos documentais que proporcionam outros sentidos aos relatos.

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.