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A caminho da imagem - Imagens aquém da representação nas práticas de Fernand Deligny
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Em 1967, após mais de trinta anos de experimentação nas instituições de cuidado por aquela que a partir de
1943 é chamada “infância inadaptada”, Fernand Deligny instala-se entre as montanhas das Cévennes, no sul da França, nas pegadas de uma criança autista: Janmari. Aqui ele põe em ato sua última tentativa -como o mesmo costumava defini-la- que irá concretizar-se na criação de um réseau: uma rede informal de á reas de convivência dedicadas ao acolhimento de crianças autistas mudas. A ele juntam-se alguns jovens adultos (voluntários e não especialistas) apaixonados pelas suas experimentações institucionais que viverão 24 horas por dia com crianças autistas e que Deligny chamará “presenças próximas”. O seu projeto consistirá em criar um ambiente adaptado ao “modo de ser” das crianças, adoptando os princípios de uma linguagem não verbal e da vida quotidiana ritualizada ao extremo. O cinema, fil rouge da sua vida, ocupa um lugar crucial nesta tentativa. Nesta dissertação procuramos pensar a prática cinematográfica de Deligny no contexto desta experiência, ao lado da proposta do antropólogo brasileiro Eduardo Viveiro de Castro de uma “antropologia como teoria-prática para a descolonização permanente do pensamento”. Desdobramos a proposta em duas partes. Na primeira parte, Legendas do Réseau, tentaremos apresentar a tentativa das Cévennes, a partir de uma perspetiva antropológica. Na segunda parte Legendas da Imagem centraremos a nossa atenção na prática do camérer, (um neologismo cunhado pelo próprio Deligny em oposição ao clássico “filmar”) e tentaremos refletir sobre a concetualização da imagem que deriva dessa forma de pensar a prática cinematográfica e como ela pode efetivamente apresentar uma tentativa de descolonização da imagem.
In 1967, after more than thirty years of experimentation in care institutions for what had been called "maladjusted childhood" since 1943, Fernand Deligny settled in the Cévennes mountains in the south of France in the footsteps of an autistic child: Janmari. Here he puts into action his last attempt -as he used to define it which will materialize in the creation of a réseau: an informal network of living areas dedicated to the reception of mute autistic children. It will be joined by some young adults (volunteers and non-specialists) passionate about their institutional experimentations who will live 24 hours a day with autistic children and whom Deligny will call “close presences”. Their project will be to create an environment adapted to the children's” way of being", adopting the principles of a non-verbal language and a daily life ritualized to the extreme. Cinema, fil rouge throughout his life, occupies a crucial place in this attempt. In this dissertation, we try to think the cinematographic practice proposed by Deligny in the context of this experience, alongside a proposition coming from the Brazilian anthropologist Eduardo Viveiros de Castro of "anthropology as theory-practice for the permanent decolonization of thought”. We unfold the proposal in two parts. In the first part, “Legends of the Réseau”, we will try to present Cévennes attempt from an anthropological perspective. In the second part “Legends of the Image” we will focus our attention on the practice of the camérer (a neologism coined by the same Deligny in opposition to the classic "filming") and try to reflect on the conceptualisation of the image that derives from this way of thinking about cinematographic practice and how it can effectively present an attempt to decolonise the image.
In 1967, after more than thirty years of experimentation in care institutions for what had been called "maladjusted childhood" since 1943, Fernand Deligny settled in the Cévennes mountains in the south of France in the footsteps of an autistic child: Janmari. Here he puts into action his last attempt -as he used to define it which will materialize in the creation of a réseau: an informal network of living areas dedicated to the reception of mute autistic children. It will be joined by some young adults (volunteers and non-specialists) passionate about their institutional experimentations who will live 24 hours a day with autistic children and whom Deligny will call “close presences”. Their project will be to create an environment adapted to the children's” way of being", adopting the principles of a non-verbal language and a daily life ritualized to the extreme. Cinema, fil rouge throughout his life, occupies a crucial place in this attempt. In this dissertation, we try to think the cinematographic practice proposed by Deligny in the context of this experience, alongside a proposition coming from the Brazilian anthropologist Eduardo Viveiros de Castro of "anthropology as theory-practice for the permanent decolonization of thought”. We unfold the proposal in two parts. In the first part, “Legends of the Réseau”, we will try to present Cévennes attempt from an anthropological perspective. In the second part “Legends of the Image” we will focus our attention on the practice of the camérer (a neologism coined by the same Deligny in opposition to the classic "filming") and try to reflect on the conceptualisation of the image that derives from this way of thinking about cinematographic practice and how it can effectively present an attempt to decolonise the image.
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Palavras-chave
Fernand Deligny Camérer Perspectivismo Cinema Antropologia visual Imagem Representação Camering Perspectivism Visual anthropology Image Representation