[pt] Na nova cena da poética da obsolescência, dentro do campo específico do
cinema do found footage de vanguarda contemporânea, um cineasta célebre e
laureado nos festivais de cinema tem se colocado frontalmente na trincheira em
prol do analógico: Peter Tscherkassky (1958-). Esta tese é escrita no
entroncamento fulcral entrea sua biografia, a historiografia e teoria do cinema e
as análises fílmicas críticas ad hoc de sua filmografia. A metodologia da tese
reflete o pensamento excessivo anti-axiomático de Georges Bataille assim como a
ideia da constelação intempestiva de Walter Benjamin. Desse modo criamos uma
série de afinidades eletivas que compõe uma rede de autores basilares para a tese,
sendo eles: Georges Didi-Huberman, Mark Fisher, Rosalind Krauss, Jacques
Derrida, Thomas Elsaesser, Roland Barthes, entre outros. Tscherkassky opera uma
transgressão da semelhança conforme das imagens, fazendo vir à tona a parte
maldita da historiografia cinematográfica. No lugar de uma ontologia indexical
clássica, ele nos faz adentrar no campo da hantologia, na condição estrutural do
cinema enquanto espectros. Seu trabalho é uma tentativa genealógica de reencantamento com as imagens do cinema hoje apaziguado pelo controle da
teleologia narrativa do cinema comercial e da dominância do regime
representativo. / [en] At the intersection between the museum and the movie theater, a number
of contemporary artists have been investigating the corporeality of analog images.
In this new scene of the poetics of obsolescence, within the specific field of
contemporary found footage avant-garde cinema, our object of study, the Austrian
Peter Tscherkassky (1958-) occupies a prominent place. The thesis is written at
the central injunction of three lines: i - The biography and critical fortune of the
director; ii- the dialogue with a classical historiography and film theory; and iiithe ad hoc critical film analysis of his filmography. In an inflection with Georges
Bataille s excessive anti-axiomatic and formless thought and, as well, into Walter
Benjamin s idea of constellation, we seek to create a series of elective affinities
that compose a network of authors that are fundamental to the thesis, namely:
George Didi -Huberman, Mark Fisher, Rosalind Krauss, Jacques Derrida, Thomas
Elseasser, Roland Barthes, among others.
From a genealogical and extemporaneous re-elaboration of the filmic ruin,
he operates a transgression of the mimesis and the conform similarity of the
images, bringing to light the cursed part of cinematographic historiography.
Instead of a classic indexical ontology, Tscherakassky takes us into the field of
hauntology, in other words, the structural condition of cinema as specters.His
work would be a genealogical attempt of re-enchantment with images of cinema
that are today appeased by the control of narrative teleology and the
representative regime. We conclude that the filmmaker s extemporaneous and
anachronistic cinema are strong responses and symptoms of problematics of the
contemporary cinema scene.
| Identifer | oai:union.ndltd.org:puc-rio.br/oai:MAXWELL.puc-rio.br:60700 |
| Date | 03 October 2022 |
| Creators | BARBARA BERGAMASCHI NOVAES |
| Contributors | LUIZ CAMILLO DOLABELLA PORTELLA OSORIO DE ALMEIDA, LUIZ CAMILLO DOLABELLA PORTELLA OSORIO DE ALMEIDA |
| Publisher | MAXWELL |
| Source Sets | PUC Rio |
| Language | Portuguese |
| Detected Language | English |
| Type | TEXTO |
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