O historiador como fotógrafo da morte: uma leitura de "Histórias que só existem quando lembradas"

Abstract

Taking as object of analysis the film "Histórias que só existem quando lembradas (Found memories), launched in 2012 and directed by Júlia Murat, this article proposes a reflection about the photographer as metaphor of the role of the historian. Like the newly arrived photographer in the imaginary city of Jotuomba, in which a small group of residents carry out their daily activities completely erasing the passage of time, the historian can be understood as someone who uses traces and remnants to construct images through which subjects can enter into conflict with their past, in a similar manner to the Benjaminian conception of the notion of traces and also about the production of dialectic images. This clash, as an instantaneous picture configured in the tension between what is repressed and the desires which make any relationship with images of the past anachronistic, can be liberating of the weight of the past which accumulates in an anodyne and predictable manner in the repetitions of daily routine through gestures, rites, objects, and clichés, in short an experience which is forgotten (or repressed) from the actual passage of time.