The reenactments in the documentary film

Authors

  • Andréa França PUC-Rio

DOI:

https://doi.org/10.11606/issn.1982-8160.v4i1p149-161

Keywords:

documentary cinema, history, memory, reenactment

Abstract

To explore the memory in the cinema is always a complex, contradictory and misleading issue. It constantly faces the risk of reviewing the past as it was, mobilizing documents as evidences of truth. The tradition of documentary cinema uses to deal of the historical memory through archive images, interviews with witness and reenactments. This last procedure, however, can be a way to stresses and confronts present and historical images. Through this technique cinema can engage a kind of involvement that, differently from the regular use of documents, entails temporal dimension, duration, immersion experience. This essay analyses the film Wilsinho Galileia (João Batista de Andrade, 1978) and Tonacci’s method of reenactment in Serra da Desordem (Andrea Tonacci, 2004), looking for its relationship to the image, to History and to the memory of its characters.

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Author Biography

  • Andréa França, PUC-Rio
    Doutora erm Comunicação e Cultura pela UFRJ. Professora da Graduação e do Programa de Pós-Graduação em Comunicação Social da PUC-Rio. Autora de Terras e Fronteiras no cinema político contemporâneo, entre outros. Pesquisadora do CNPq.

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Published

2011-12-15

Issue

Vol. 4 No. 1 (2010)

Section

Em Pauta/Agenda

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How to Cite

França, A. (2011). The reenactments in the documentary film. MATRIZes, 4(1), 149-161. https://doi.org/10.11606/issn.1982-8160.v4i1p149-161