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Estágio no ANIM - Filmes Domésticos em Volta do Colonialismo Português
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No campo arquivístico, os filmes domésticos do período colonial são uma área ainda pouco
explorada. Estas filmagens, normalmente de festas de aniversário, batizados e idas à praia,
tendem a possuir, curiosamente, uma qualidade global no retrato íntimo de indivíduos em
contexto familiar. Revelam padrões extensos, práticas sociais muito representativas de um
certo quotidiano nas colónias, mas pelos confins do pessoal. A refinada textura de filmagens
de arquivo e os planos amadores, compõem retratos familiares com uma honestidade
minuciosa. À primeira vista, não tornam presente a memória atual do colonialismo
português e não são vistos como objetos de análise pela maior parte dos investigadores. No
entanto, o estudo destas imagens, como imagens que representam o período colonial ou
não, mostra-se útil, precisamente para lidarmos melhor com o presente através do passado.
Com o apoio e permissão do extenso arquivo fílmico do ANIM - Arquivo Nacional das
Imagens em Movimento, núcleo conservador da Cinemateca-Museu do Cinema, fui de
encontro ao desafio de visionar os espólios referentes ao período do colonialismo
português, particularmente os filmes domésticos rodados por portugueses brancos em
territórios colonizados entre as décadas de 1950, 60 e 70, no contexto de um estágio onde
se realizou trabalho técnico e de descrição. A partir das experiências no arquivo, meço as
possibilidades do filme doméstico como documento para o estudo de “imagens coloniais”,
levando em conta a sua materialidade e a obscuridade de sentido do seu conteúdo
imagético, em especial face à reprodutibilidade e remediação digital.
In the archival field, home movies from the colonial period are still a little explored area. These films, usually of birthday parties, christenings, or trips to the beach, curiously tend to have an global quality in their intimate portrayal of individuals in a family context. They reveal extensive patterns and social practices representative of everyday life in the colonies from the confines of the personal. The refined texture of archive footage and amateur shots make up family portraits with meticulous honesty. At first glance, they don't present the current memory of Portuguese colonialism and are not seen as objects of analysis by most researchers. However, studying these images, as colonial images or not, proves very useful, precisely so that we can better deal with the present through the past. With the support and permission of the extensive film archive of ANIM, the National Archive of Moving Images, and the conservation center of the Cinemateca-Museu do Cinema, I took on the challenge of viewing the collections surrounding Portuguese colonialism, in particular the domestic films shot by white Portuguese in colonized territories between the 1950s, 60s, and 70s, in the context of an internship where technical and description work was carried out. Based on my experiences at the Archive, I measure the possibilities of domestic cinema as a document for studying colonial images, accounting for its material nature and the obscurity of meaning of its imagetic content, especially in the age of digital reproducibility and remediation.
In the archival field, home movies from the colonial period are still a little explored area. These films, usually of birthday parties, christenings, or trips to the beach, curiously tend to have an global quality in their intimate portrayal of individuals in a family context. They reveal extensive patterns and social practices representative of everyday life in the colonies from the confines of the personal. The refined texture of archive footage and amateur shots make up family portraits with meticulous honesty. At first glance, they don't present the current memory of Portuguese colonialism and are not seen as objects of analysis by most researchers. However, studying these images, as colonial images or not, proves very useful, precisely so that we can better deal with the present through the past. With the support and permission of the extensive film archive of ANIM, the National Archive of Moving Images, and the conservation center of the Cinemateca-Museu do Cinema, I took on the challenge of viewing the collections surrounding Portuguese colonialism, in particular the domestic films shot by white Portuguese in colonized territories between the 1950s, 60s, and 70s, in the context of an internship where technical and description work was carried out. Based on my experiences at the Archive, I measure the possibilities of domestic cinema as a document for studying colonial images, accounting for its material nature and the obscurity of meaning of its imagetic content, especially in the age of digital reproducibility and remediation.
Descrição
Palavras-chave
Arquivo fílmico ANIM ANIM film archive Filmes domésticos Home movies Colonialismo português Portuguese colonialism Remediação Remediation