A escrita de si e as expressões do "eu" em Santiago e No intenso agora: uma arqueologia das imagens

Abstract

When investigating the past in the present, we seek to examine how archival images in Santiago (2006) and In the intense now (2017) interpose temporal layers that open up to a mnemonic policy that is, at the same time, personal, political and social. The purpose of this dissertation is to set a comparison between the two films, establishing their interlocutions, their approximations, but also their distancing. We understand that this meeting is an invitation to reflect on the images in their pragmatic, but also archaeological form. In reviewing the archives, familiar or public, Salles exercises the role of a ragpicker as one who seeks to extract the nature of the material, a nod to the essay through a metanarrative process (an inflection on the itself method). We seek, from this, to examine how this essayistic gesture transits between a writing that goes from the self-trace, in which the director-character builds the “self” through the image, often in an unintentional, non-consented way, mediated by the registration of a second person; to self-performance, an “autobiography”, an intervention by the subject in the documentary.