Capítulo V _ Convidados

Funeral de Estado (Sergei Loznitsa, 2019): o funeral do documentário

Anabela Branco de Oliveira
Universidade de Trás-os-Montes e Alto-Douro/LabCom, Portugal
Felipe Muanis
Universidade de Trás-os-Montes e Alto-Douro, Portugal | PPGACL- UFJF, PPGCOM-UFC, Entelas, Brasil
AVANCA | CINEMA 2022
N.º 13 (2022)
Publicado 2022-09-21
PDF HTML

Resumo

From Claude Lanzmann’s controversial interdiction of documentary images produced by genocidal political regimes, this article analyzes the discursive choices of the documentary State Funeral (2019), from Ukrainian director Sergei Loznitsa, against Harun Farocki’s Aufschub (2007), Alain Resnais’ Nuit et brouillard (1956), Vanessa Lapa’ The Decent One (2014) and Rithy Panh’s, L’image manquante (2013). All these films use archive footage. To what extent do totalitarian regimes’ official images, without the marks of enunciation of the director who manipulates them in the present, enable the image ethics, or do they resemble the perpetrators’ propaganda? The proposal presented here relativizes Lanzmann’s concept, but the contemporary director must turn explicit its discursive intervention and show himself as the film enunciator. In this way, he could re-signify and use these images. Authors like Cristina Teixeira Vieira de Melo, François Niney and Arlette Farge are discussed.

Palavras-chave Filmagem de arquivo, Imparcialidade, O culto da personalidade, Enunciador, Re-significação de imagens.
PDF HTML
Creative Commons License

Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.

Direitos de Autor (c) 2022 AVANCA | CINEMA