Towards a new cinefilia: the film-museum as a cartography of the real
DOI:
https://doi.org/10.34629/rcdmt.vol.1.n.1.pp121-143Keywords:
Museum films, Temporality, Spatiality, Cartography of the real, Assembly knowledge, No Quarto da VandaAbstract
In this text, dimensions of production of what we call museum films will be approached, justifying the need for their existence for the benefit and enjoyment of a new type of spectator. In the age of telematic omnipresence, the disregard of temporality and spatiality provokes a reversal of interiority, a loss of the experience of deepening the films on the part of their viewers. Film-museums generate effects of monumentality, manage to transform a time interval into an event, convoke the spectator, empowering him as a co-producer of meaning, making him active. This is how a cinema of cartography of the real makes it possible for the spectator to disassemble and reassemble it, on the way to a new cinephilia. As an illustration of this broader phenomenon, the film No Quarto da Vanda, by Pedro Costa, will be convened.
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