Animação, documentário e memória. A representação animada da ditadura chilena
DOI:
https://doi.org/10.7764/cdi.43.1381Palavras-chave:
Cinema animado, segmentos animados, documentário animado, memória, ditadura, ChileResumo
A animação aparece cada vez mais em produções sobre eventos relacionados à memória. Nosso objetivo é analisar as obras que incorporam cenas animadas para representar a ditadura chilena e aprofundar a confluência entre animação, documentário e memória. Desde uma perspectiva qualitativa, combinamos a análise das animações e entrevistas com os diretores. Os resultados revelam que a animação é um formato versátil que permite aos autores superar a ausência de imagens de arquivo, suavizar o grau de representação de eventos traumáticos, diminuir custos, conectar a memória com as novas gerações e favorecer a empatia do espectador.
Referências
Animación, Chile en Movimiento. (2013). Entrevista a Claudio Díaz [Interview with Claudio Díaz] [video file]. Retrieved from http://moebiusanimacion.com/videos/entrevista-a-claudio-diaz/
Araya, R., Escobar, A., & Naranjo, R. (2016, February 29). Integrante de Dënver por ‘Historia de un Oso’: Nadie imaginó la magnitud de este proyecto [Member of Dënver discussing ‘Bear Story’: No one imagined the magnitude of this Project]. Bío Bío Chile. Retrieved from http://www.biobiochile.cl
Barthes, R. (1986). Lo obvio y lo obtuso: Imágenes, gestos, voces [The obvious and the obtuse: Images, gestures, voices]. Barcelona: Paidós.
Beckman, K. (2011). Animation on trial. Animation, 6(3), 259-275. https://doi.org/10.1177/1746847711416568
Brown, N. (2017). Children’s Film: Genre, Nation, and Narrative. Columbia: Columbia University Press.
Bruzzi, S. (2006). New Documentary: A Critical Introduction. London: Routledge.
Campbell, J. & Harbord, J. (Eds.). (2002). Temporalities, Autobiography and Everyday Life. Manchester: Manchester University Press.
Díaz, C. (2007, July 18). Golpe de espejo [Mirror blow]. Retrieved from http://golpedeespejo.blogspot.com.es/
García-González, M. (2017). Narrando la Dictadura a la Infancia. Imágenes que trafican significados [Narrating Dictatorship for Childhood. Images that Smuggle Meanings]. Catedral Tomada, 5(9), 84-108. https://doi.org/10.5195/ct/2017.243
Hight, C. (2008). Primetime digital documentary animation: The photographic and graphic within play. Studies in Documentary Film, 2(1), 9-31. Retrieved from https://www.tandfonline.com/doi/abs/10.1386/sdf.2.1.9_1
Honess Roe, A. (2009). Animating Documentary. Los Angeles: University of Southern California.
Honess Roe, A. (2011). Absence, excess and epistemological expansion: Towards a framework for the study of animated documentary. Animation, 6(3), 215-230. https://doi.org/10.1177/1746847711417954
Honess Roe, A. (2013). Animated Documentary. New York: Palgrave Macmillan.
Lasseter, J. (2001, November 23). Welcome to my world. The Guardian. Retrieved from http://www.theguardian.com
Londres 38. (2012). Trazos de memoria. Ilustraciones animadas creadas a partir de los testimonios del archivo audiovisual de Londres 38, espacio de memorias [Memory traces. Animated illustrations created from the testimonies of the audio-visual archive of Londres 38, space of memories]. Santiago, Chile: Londres 38, espacio de memorias y Ludoismo. Retrieved from http://www.londres38.cl/1934/articles-93467_recurso_1.pdf
Menna, A. (2013). Ari Folman’s Ethical, Psychic Warzone. Intertext, 21(1), 12-15. Retrieved from https://surface.syr.edu/intertext/vol21/iss1/9
Matzkeit, A. (2013, October 28). Animierte Dokumentarfilme - Im Gespräch mit Annegret Richter [Animated documentary films - In conversation with Annegret Richter]. Real virtuality. Retrieved from http://realvirtuality.info/
Missomelius, P. (2015). Bewegtbildpraktiken zwischen traditionellen und digitalen Medien: Das Mashup als paradigmatische Form igitaler Medienkulturen [Moving image practices between traditional and digital media: the mashup as a paradigmatic form of digital media cultures]. In F. Mundhenke, F. Ramos Arenas, & T. Wilke (Eds.), Mashups. Neue Praktiken und Ästhetiken in populären Medienkulturen [Mashups. New practices and aesthetics in popular media cultures] (pp. 227-243). Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-05753-4_14
Mori, M. (1970). The Uncanny Valley. Energy, 7(4), 33-35.
Mundhenke, F. (2017). Zwischen Dokumentar-und Spielfilm: Zur Repräsentation und Rezeption von Hybrid-Formen [Between documentary and feature film: For the representation and reception of hybrid
forms]. Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-15603-9
Nichols, B. (1997). La representación de la realidad [The representation of reality]. Barcelona: Paidós.
Nichols, B. (2001). Introduction to documentary. Bloomington: Indiana University Press.
Nichols, B. (2008). Documentary Reenactment and the Fantasmatic Subject. Critical Inquiry, 35(1), 72-89. https://doi.org/10.1086/595629
Osorio, G. (2016). Director’s statement. Bearstory.cl. Retrieved from http://bearstory.cl/
Peña, C. (2012, April 1). Los sastres de la Escuela Militar [The tailors of the Military School]. La Tercera. Retrieved from http://www.latercera.cl
Perasso, V. (2016, February 29). “Historia de un oso”, el corto animado que logró el primer Oscar de la historia para Chile [“Bear Story”, the animated short film that won the first Oscar in history for Chile]. BBC Mundo. Retrieved from https://www.bbc.com/mundo
Pérez, C. (Producer), & Díaz, (Director). (2008). Golpe de espejo [Mirror Shot]. Chile: Iconoanima.
Quijada, L. (2016). Cómo Hicimos Trazos de Memoria [How We Created Memory Traces] [video file]. Retrieved from http://www.londres38.cl/1934/w3-article-98933.html
Richter, A. (2011). Zeichnung der Wirklichkeit. Animation als dokumentarisches Mittel [Drawing of reality. Animation as documentary means]. In W. Grausgruber & B. Wagner (Eds.), Tricky Women. Animations-FilmKunst von Frauen [Tricky Women. Animation- movie art of women] (pp. 125-132). Marburg: Schüren.
Rodríguez, A. (2016, February 29). Un oso y los ecos de la dictadura chilena, contra Pixar [A bear and the echoes of the Chilean dictatorship, against Pixar]. El País. Retrieved from http://www.elpais.com
Sánchez-Biosca, V. (2016). Modos de mirar, actos de matar. Miradas desde el nuevo siglo [Modes of looking, acts of killing. Looks from the new century]. In R. Cueto (Ed.), The Act of Killing (pp. 11-24). San Sebastián: DONOSTIA ZINEMALDIA.
Schwab, G. (2015). Escribir contra la memoria y el olvido [Write against memory and oblivion]. In S. Mandolessi & M. Alonso (Eds.), Estudios sobre memoria. Perspectivas actuales y nuevos escenarios [Studies on memory. Current perspectives and new scenarios] (pp. 53-84). Villa María: Eduvim.
Skoller, J. (2011). Introduction to the Special Issue Making It (Un)real: Contemporary Theories and Practices in Documentary Animation. Animation: an Interdisciplinary Journal, 6(3), 207-214. https://doi.org/10.1177/1746847711422496
Strøm, G. (2003). The Animated Documentary. Animation Journal, 11, 46-63.
Tinwell, A. (2014). The Uncanny Valley in Games and Animation. Boca Raton: CRC Press.
Tinwell, A., Grimshaw, M., & Abdel-Nabi, D. (2014). The Uncanny Valley and Nonverbal Communication in Virtual Characters. In J. Tanenbaum, M. S. El-Nasr, & M. Nixon (Eds.), Nonverbal Communication in Virtual Worlds (pp. 325-341). Carnegie Mellon University: ETC Press.
Ward, P. (2005). Documentary: The Margins of Reality. New York: Columbia University Press.
Ward, P. (2011). Animating with Facts: The performative process of documentary animation in the ten mark. Animation, 6(3), 293-305. https://doi.org/10.1177/1746847711420555
Wells, P. (1997). The beautiful village and the true village: a consideration of animation and the documentary aesthetic. In P. Wells (Ed.), Art & Animation (pp. 40-45). London: Academy Editions.
Wells, P. (1998). Understanding Animation. London: Routledge.
Araya, R., Escobar, A., & Naranjo, R. (2016, February 29). Integrante de Dënver por ‘Historia de un Oso’: Nadie imaginó la magnitud de este proyecto [Member of Dënver discussing ‘Bear Story’: No one imagined the magnitude of this Project]. Bío Bío Chile. Retrieved from http://www.biobiochile.cl
Barthes, R. (1986). Lo obvio y lo obtuso: Imágenes, gestos, voces [The obvious and the obtuse: Images, gestures, voices]. Barcelona: Paidós.
Beckman, K. (2011). Animation on trial. Animation, 6(3), 259-275. https://doi.org/10.1177/1746847711416568
Brown, N. (2017). Children’s Film: Genre, Nation, and Narrative. Columbia: Columbia University Press.
Bruzzi, S. (2006). New Documentary: A Critical Introduction. London: Routledge.
Campbell, J. & Harbord, J. (Eds.). (2002). Temporalities, Autobiography and Everyday Life. Manchester: Manchester University Press.
Díaz, C. (2007, July 18). Golpe de espejo [Mirror blow]. Retrieved from http://golpedeespejo.blogspot.com.es/
García-González, M. (2017). Narrando la Dictadura a la Infancia. Imágenes que trafican significados [Narrating Dictatorship for Childhood. Images that Smuggle Meanings]. Catedral Tomada, 5(9), 84-108. https://doi.org/10.5195/ct/2017.243
Hight, C. (2008). Primetime digital documentary animation: The photographic and graphic within play. Studies in Documentary Film, 2(1), 9-31. Retrieved from https://www.tandfonline.com/doi/abs/10.1386/sdf.2.1.9_1
Honess Roe, A. (2009). Animating Documentary. Los Angeles: University of Southern California.
Honess Roe, A. (2011). Absence, excess and epistemological expansion: Towards a framework for the study of animated documentary. Animation, 6(3), 215-230. https://doi.org/10.1177/1746847711417954
Honess Roe, A. (2013). Animated Documentary. New York: Palgrave Macmillan.
Lasseter, J. (2001, November 23). Welcome to my world. The Guardian. Retrieved from http://www.theguardian.com
Londres 38. (2012). Trazos de memoria. Ilustraciones animadas creadas a partir de los testimonios del archivo audiovisual de Londres 38, espacio de memorias [Memory traces. Animated illustrations created from the testimonies of the audio-visual archive of Londres 38, space of memories]. Santiago, Chile: Londres 38, espacio de memorias y Ludoismo. Retrieved from http://www.londres38.cl/1934/articles-93467_recurso_1.pdf
Menna, A. (2013). Ari Folman’s Ethical, Psychic Warzone. Intertext, 21(1), 12-15. Retrieved from https://surface.syr.edu/intertext/vol21/iss1/9
Matzkeit, A. (2013, October 28). Animierte Dokumentarfilme - Im Gespräch mit Annegret Richter [Animated documentary films - In conversation with Annegret Richter]. Real virtuality. Retrieved from http://realvirtuality.info/
Missomelius, P. (2015). Bewegtbildpraktiken zwischen traditionellen und digitalen Medien: Das Mashup als paradigmatische Form igitaler Medienkulturen [Moving image practices between traditional and digital media: the mashup as a paradigmatic form of digital media cultures]. In F. Mundhenke, F. Ramos Arenas, & T. Wilke (Eds.), Mashups. Neue Praktiken und Ästhetiken in populären Medienkulturen [Mashups. New practices and aesthetics in popular media cultures] (pp. 227-243). Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-05753-4_14
Mori, M. (1970). The Uncanny Valley. Energy, 7(4), 33-35.
Mundhenke, F. (2017). Zwischen Dokumentar-und Spielfilm: Zur Repräsentation und Rezeption von Hybrid-Formen [Between documentary and feature film: For the representation and reception of hybrid
forms]. Wiesbaden: Springer. https://doi.org/10.1007/978-3-658-15603-9
Nichols, B. (1997). La representación de la realidad [The representation of reality]. Barcelona: Paidós.
Nichols, B. (2001). Introduction to documentary. Bloomington: Indiana University Press.
Nichols, B. (2008). Documentary Reenactment and the Fantasmatic Subject. Critical Inquiry, 35(1), 72-89. https://doi.org/10.1086/595629
Osorio, G. (2016). Director’s statement. Bearstory.cl. Retrieved from http://bearstory.cl/
Peña, C. (2012, April 1). Los sastres de la Escuela Militar [The tailors of the Military School]. La Tercera. Retrieved from http://www.latercera.cl
Perasso, V. (2016, February 29). “Historia de un oso”, el corto animado que logró el primer Oscar de la historia para Chile [“Bear Story”, the animated short film that won the first Oscar in history for Chile]. BBC Mundo. Retrieved from https://www.bbc.com/mundo
Pérez, C. (Producer), & Díaz, (Director). (2008). Golpe de espejo [Mirror Shot]. Chile: Iconoanima.
Quijada, L. (2016). Cómo Hicimos Trazos de Memoria [How We Created Memory Traces] [video file]. Retrieved from http://www.londres38.cl/1934/w3-article-98933.html
Richter, A. (2011). Zeichnung der Wirklichkeit. Animation als dokumentarisches Mittel [Drawing of reality. Animation as documentary means]. In W. Grausgruber & B. Wagner (Eds.), Tricky Women. Animations-FilmKunst von Frauen [Tricky Women. Animation- movie art of women] (pp. 125-132). Marburg: Schüren.
Rodríguez, A. (2016, February 29). Un oso y los ecos de la dictadura chilena, contra Pixar [A bear and the echoes of the Chilean dictatorship, against Pixar]. El País. Retrieved from http://www.elpais.com
Sánchez-Biosca, V. (2016). Modos de mirar, actos de matar. Miradas desde el nuevo siglo [Modes of looking, acts of killing. Looks from the new century]. In R. Cueto (Ed.), The Act of Killing (pp. 11-24). San Sebastián: DONOSTIA ZINEMALDIA.
Schwab, G. (2015). Escribir contra la memoria y el olvido [Write against memory and oblivion]. In S. Mandolessi & M. Alonso (Eds.), Estudios sobre memoria. Perspectivas actuales y nuevos escenarios [Studies on memory. Current perspectives and new scenarios] (pp. 53-84). Villa María: Eduvim.
Skoller, J. (2011). Introduction to the Special Issue Making It (Un)real: Contemporary Theories and Practices in Documentary Animation. Animation: an Interdisciplinary Journal, 6(3), 207-214. https://doi.org/10.1177/1746847711422496
Strøm, G. (2003). The Animated Documentary. Animation Journal, 11, 46-63.
Tinwell, A. (2014). The Uncanny Valley in Games and Animation. Boca Raton: CRC Press.
Tinwell, A., Grimshaw, M., & Abdel-Nabi, D. (2014). The Uncanny Valley and Nonverbal Communication in Virtual Characters. In J. Tanenbaum, M. S. El-Nasr, & M. Nixon (Eds.), Nonverbal Communication in Virtual Worlds (pp. 325-341). Carnegie Mellon University: ETC Press.
Ward, P. (2005). Documentary: The Margins of Reality. New York: Columbia University Press.
Ward, P. (2011). Animating with Facts: The performative process of documentary animation in the ten mark. Animation, 6(3), 293-305. https://doi.org/10.1177/1746847711420555
Wells, P. (1997). The beautiful village and the true village: a consideration of animation and the documentary aesthetic. In P. Wells (Ed.), Art & Animation (pp. 40-45). London: Academy Editions.
Wells, P. (1998). Understanding Animation. London: Routledge.
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Publicado
2018-12-30
Como Citar
Fenoll, V. . (2018). Animação, documentário e memória. A representação animada da ditadura chilena. Cuadernos.Info, (43), 45–56. https://doi.org/10.7764/cdi.43.1381
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YEMA CENTRAL
