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A memória da obra de Manoel de Oliveira
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O presente trabalho pretende sugerir um olhar, ou revisão, da obra do cineasta português Manoel de Oliveira encarado sob o ponto de vista da memória. Um percurso que parte de uma análise mais profunda ao filme Visita ou Memórias e Confissões (1982), uma obra única que sai fora do âmbito cinematográfico e opera uma investigação através da literatura, a pintura e a arquitetura. Nesse sentido, é ao mesmo tempo documentário e ficção, experiência pessoal e coletiva, atravessando épocas e culturas diferentes. Interessou-nos compreender como tudo isso funciona e se refere a um filme como guardião e transmissor de memória, ou até como vários tipos de memória se refletem no cinema. A presente dissertação ousa ainda uma abordagem semântica no sentido de descobrir os diversos significados revelados na obra de Oliveira e encontrar ligações fortes com a História e a cultura mundial. Por aqui se faz uma investigação sobre o papel que a casa tem na nossa vida, bem como na criação do gesto cinematográfico. Concluímos com a experiência de um filme autobiográfico dedicado à memória, invocando a nostalgia do passado, tocando o presente e projetando o futuro.
this work pretends to operate a look, or review, on the work of the Portuguese filmmaker Manoel de Oliveira seen through a memory lenses. A journey that starts from a deeper analysis of the film Visit or Memories and Confessions (1982), a unique work that goes outside of the cinematographic scope and operates an investigation through literature, painting and architecture. In this sense, it’s both documentary and fiction, personal and a collective experience, crossing different eras and cultures. We were interested in understanding how all this works and refers to a film as a guardian and transmitter of memory, or even how various types of memory are reflected in film. This thesis also dares a semantic approach in the sense of discovering of the various meanings revealed in Oliveira's work and finding strong links with world history and culture. Here is an investigation of the role that the House has in our life, as well as in the creation of the cinematographic gesture. We conclude with the experience of an autobiographical film dedicated to memory, invoking the nostalgia of the past, touching the present and projecting the future.
this work pretends to operate a look, or review, on the work of the Portuguese filmmaker Manoel de Oliveira seen through a memory lenses. A journey that starts from a deeper analysis of the film Visit or Memories and Confessions (1982), a unique work that goes outside of the cinematographic scope and operates an investigation through literature, painting and architecture. In this sense, it’s both documentary and fiction, personal and a collective experience, crossing different eras and cultures. We were interested in understanding how all this works and refers to a film as a guardian and transmitter of memory, or even how various types of memory are reflected in film. This thesis also dares a semantic approach in the sense of discovering of the various meanings revealed in Oliveira's work and finding strong links with world history and culture. Here is an investigation of the role that the House has in our life, as well as in the creation of the cinematographic gesture. We conclude with the experience of an autobiographical film dedicated to memory, invoking the nostalgia of the past, touching the present and projecting the future.
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Palavras-chave
Manoel de Oliveira Memória Oliveira Biografia Renascimento Casa Ruínas Memory Biography Renaissance Home Ruins