Return to search

[pt] O CINEMA MAL-DITO DE PETER TSCHERKASSKY: HANTOLOGIA E A FORMA INFORME / [en] PETER TSCHERKASSKY S CURSED CINEMA: HAUNTOLOGY AND FORMLESS

[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.

Identiferoai:union.ndltd.org:puc-rio.br/oai:MAXWELL.puc-rio.br:60700
Date03 October 2022
CreatorsBARBARA BERGAMASCHI NOVAES
ContributorsLUIZ CAMILLO DOLABELLA PORTELLA OSORIO DE ALMEIDA, LUIZ CAMILLO DOLABELLA PORTELLA OSORIO DE ALMEIDA
PublisherMAXWELL
Source SetsPUC Rio
LanguagePortuguese
Detected LanguageEnglish
TypeTEXTO

Page generated in 0.002 seconds