Notice bibliographique
Résumé
In this article we intend to analyze three Brazilian contemporary short films made from preexisting amateour photography. The works embrace topics such as image appropriation and recycling in order to create new narratives. The short movies here analyzed can be defined as experimental documentaries made from material found in flea markets and family photographs. Travessia (Dir. Safira Moreira, 2017) starts with a photo found in the album of a white family in a flea market in Rio de Janeiro. The picture shows a black woman holding a white baby in her arms. The montage shows parts of the image while the voice over reads a poem by Conceição Evaristo. At the end of the reading, we see the full picture and then the verse, where we see the child's name written accompanied by his nanny, in a gesture that denies the woman's naming. The movie follows interviewing black families about the topics and changing the game. By using this and other imagens, the movie creates a critical fabulation, according to the concept developed by Saidiya Hartman. O Pantanal é Preto (Dir. Raylson Chaves, 2022), follows the resistance trajectory of the black population in the Pantanal between the 1980s and 1990s. By using analogical photos of his own family, the director demarcates that the Pantanal is made, like much of the country, by black and indigenous people. They are not just pawns or maids, they are the Pantanal itself. The montage shows pictures of Pantanal farms and uses quotes by Frantz Fanon. In the sound band, we hear dialogues that reproduce the accent common in the region, but little recognized externally, even within Brazil itself. The last short we intend to investigate, Thynia (Dir. Lia Letícia, 2019), uses pictures from a family album found in a flea market in Germany. The montage shows the photographs accompanied by texts from books such as Travel to Brazil, by Hans Staden, translated to the Yantê language and read by the indigenous woman Maria Pastora. The film problematizes a kind of archive image of the original inhabitants of Latin America created by European colonizers (BARRIENDOS, 2019), comparing, in the present, words from a then best-seller with photographs of an unknown German family. Through these films, we intend to analyze how, through the use of our own repositories of technical images, new narratives are created that confront colonialist perspectives and their legacies. The use of amateur materials, in fact, can be seen as one of the aspects of the subjective turn (SARLO, 2007) in memory studies, characterized, among other things, by disbelief in hegemonic points of view and the valorization of local stories and micronarratives .Through archives that would otherwise not be publicly deposed, these films show other perspectives through the appropriation of technical images, bringing, in the present, the opportunity to create from the erasures of the past.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».