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Master's Dissertation
DOI
10.11606/D.27.2018.tde-06022018-095900
Document
Author
Full name
Ricardo Terdiman Lerman
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2017
Supervisor
Committee
Mourão, Maria Dora Genis (President)
Alexandre Sobrinho, Gilberto
Hayashi, Sílvia Okumura
Title in Portuguese
Harun Farocki e a (des)montagem do olhar
Keywords in Portuguese
Análise da imagem
Documentário ensaístico
Harun Farocki
Imagens do Mundo e Inscrições da Guerra
Videogramas de uma Revolução
Abstract in Portuguese
O trabalho de pesquisa pretende aprofundar-se na concepção e método de cinema de Harun Farocki tomando como problema a relação da sua arte cinematográfica com a história e com as construções simbólicas que se operam a partir da produção de imagens no mundo pós-industrial. Há um duplo movimento em seus filmes que consiste em, de um lado, esboçar, através das imagens que circulam no interior do espaço social, uma história audiovisual da civilização que advém com a invenção da fotografia, a fim de localizar as convergências entre guerra, economia, política e representação. Do outro, investigar o papel do realizador e portanto questionar a técnica, a moral e a política de sua atividade, a fim de interrogar a prática cinematográfica em um mundo contemporâneo saturado dela. O presente trabalho buscará, pelo procedimento da análise fílmica discutir os aspectos sociais e políticos da produção de imagens na atualidade segundo a obra de Farocki, ancorando-se na crítica da fotografia (Flusser) e da história da cultura (Benjamin). A pesquisa evidenciará como as estruturas formais de seus filmes constroem uma relação singular entre as imagens de arquivo e os processos históricos correspondentes, tendo como horizonte compreender a ideia de cinema que se constrói nos filmes "Imagens do mundo e inscrições da guerra" (1988) e "Videogramas de uma revolução" (1992).
Title in English
Harun Farocki and the (dis)assembly of the gaze
Keywords in English
Harun Farocki
Image Analysis
Images of the World and Inscriptions of War
Videograms of a Revolution
Abstract in English
The present work intends to deepen in the conception and method of Harun Farocki's work and investigate the relation between his cinematography art, history and the symbolic constructions that are made since the development of the post-industrial world. There is a double movement in Farocki's film. The first one involves sketching trough images that circulate in the interior of society an audiovisual history of the civilization that emerges with the invention of photography to locate the convergence between war, economics, politics and representation. The second one consists in investigate the role of the director in the the contemporary world and therefore to question the technique, morals and politics of his activity, in order to interrogate the cinematographic practice in a contemporary world saturated with it. This work of research will seek, through de procedure of film analysis, to discuss the social and political aspects of the production of images in the present time according to the work of Farocki, anchoring itself in the critic of photography (Flusser) and the history of culture (Benjamin). The research will show how the formal structures of his films construct a singular relation between the archive images and the corresponding historical process in the films "Images of the world and inscriptions of war" (1988) and "Videograms of a Revolution" (1992).
 
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Publishing Date
2018-02-08
 
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