Montagens do público e do privado no arquivo audiovisual: imaginação histórica e cultura do fragmento a partir de filmes de Carlos Nader

Abstract

This thesis uses three films by Carlos Nader, Pan-Cinema Permanente, A Paixão de JL and Homem Comum, to reflect on the montages between official and amateur audiovisual materials. In this sense, these films are taken as theoretical objects that, inserted in the issue of the public-private relationship, work as methodological delimiters and intercessors for a broad question: what are the implications of the new frontiers of audiovisual in the contemporary archive/world? To try to answer this question, we suggest two complementary effects: (1) the formation of a certain historical imagination (2) temporalized by fragments from different contexts and media. To develop the research, we initially use the “theory of filmmaker” to analyze three central aspects in Carlos Nader's filmography: the use of “archive images” at different scales; the conception of an imaginal relationship between the Self and the Other; and the role of time figures in the montages of heterogeneous archives. Then, from the film Pan-Cinema Permanente, we present the assumptions and develop the central issues of our discussion, especially the notion of audiovisual archive and its current borders in the public and private relationship. The films A Paixão de JL and Homem Comum then discuss some implications and configurations of this audiovisual archive in our contemporary culture: the historical imagination and its temporal and fragmentary regime. For the theoretical basis and the construction of an appropriate approach for the development of the thesis, we rely on authors who dialogue with the questions presented. They are predominantly linked to media archeology and film studies, such as Vilém Flusser and Wolfgang Ernst.