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Filmar a poética etnográfica: Diálogos entre Jiří Trnka e Sergei Parajanov
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A dissertação de mestrado Filmar a poética etnográfica: Diálogos entre Jiří Trnka e Sergei
Parajanov pretende comparar os legados do animador checo Jiří Trnka (1912-1969) e do cineasta
arménio Sergei Parajanov (1924-1990), à luz da noção de “poética etnográfica”, originalmente
ligada à escrita de poesia como método de investigação antropológico. À primeira vista, estes dois
realizadores não podiam ser mais diferentes nos seus respetivos oeuvres. Enquanto Trnka utilizava
técnicas de stop motion para emaranhar contos de fadas nas cordas da famosa marioneta checa,
Parajanov deixava um coração dividido entre a Arménia, a Geórgia e a Ucrânia guiar composições
tableau. A análise comparativa revela, todavia, uma dupla de realizadores, determinada a poetizar
as culturas dos seus países de origem contra os preceitos do realismo socialista, corrente que
condicionou as esferas artísticas da União Soviética até à sua dissolução, em 1991.
Através de três duplas de estudos de caso, a animação e o live action são justapostos, de forma a
classificar a poética etnográfica, segundo Trnka e Parajanov, não só como uma abordagem
cinematográfica válida, mas também como um ato de resistência, motivado por contextos
sociopolíticos específicos. Entre as double bills selecionadas encontram-se: The Czech Year
(Špalíček, Jiří Trnka, 1947) e The Color of Pomegranates (Nran guyne, Sergei Parajanov, 1969)
pelas suas representações cíclicas das heranças checa e arménia; Old Czech Legends (Staré pověsti
české, Jiří Trnka, 1952) e Shadows of Forgotten Ancestors (Tini zabutykh predkiv, Sergei
Parajanov, 1964) por combinarem o imaginário nacional e as tradições locais; e, por fim, Prince
Bayaya (Bajaja, Jiří Trnka, 1950) e Ashik Kerib (Ashugh gharibi, Sergei Parajanov, 1988) pelos
seus retratos autóctones do herói mitológico.
Em última análise, a alternativa poética apresentada por Trnka e Parajanov ao “mandato realista
no cinema soviético” (Kim, 2022, p. 117) é equiparada à experiência subjetiva da cultura que a
poética etnográfica introduziu no ramo da antropologia, contrariando pretensões de objetividade.
Apresenta-se, assim, um projeto de investigação em poética histórica (Bordwell, 2008, pp. 12-13),
que reforça a relevância dos filmes espacial e temporalmente enraizados de Trnka e Parajanov, no
passado, presente e futuro.
The master’s dissertation Filming poetic ethnography: Dialogues between Jiří Trnka and Sergei Parajanov aims to compare the legacies of Czech animator Jiří Trnka (1912-1969) and Armenian filmmaker Sergei Parajanov (1924-1990) through the notion of “poetic ethnography”, originally related to the act of writing poetry as an anthropological research method. At first glance, these two directors could not be more different in their respective oeuvres. While Trnka used stop motion techniques to entangle fairy tales on the strings of the famous Czech marionette, Parajanov let a heart divided between Armenia, Georgia, and Ukraine guide tableau compositions. However, a comparative analysis reveals a duo of directors determined to poeticize the cultures of their origin countries against the ideals of socialist realism, a cultural doctrine that conditioned the artistic spheres of the Soviet Union, until its dissolution in 1991. Through three comparative case studies, animation and live action are juxtaposed, in the hopes of classifying poetic ethnography, according to Trnka and Parajanov, not only as a valid cinematic approach, but also as an act of resistance, motivated by specific sociopolitical contexts. Among the selected double bills are: The Czech Year (Špalíček, Jiří Trnka, 1947) and The Color of Pomegranates (Nran guyne, Sergei Parajanov, 1969) for their cyclical representation of Czech and Armenian heritages; Old Czech Legends (Staré pověsti české, Jiří Trnka, 1952) and Shadows of Forgotten Ancestors (Tini zabutykh predkiv, Sergei Parajanov, 1964) for combining the national imaginary and local traditions; and, finally, Prince Bayaya (Bajaja, Jiří Trnka, 1950) and Ashik Kerib (Ashugh gharibi, Sergei Parajanov, 1988) for their autochthonous portrayals of the mythological hero. Ultimately, the poetic alternative presented by Trnka and Parajanov to the “realist mandate in Soviet cinema” (Kim, 2022, p. 117) is equated with the subjective experience of culture that poetic ethnography introduced in the field of anthropology, prone to prioritize supposedly objective reports. Therefore, a research project in historical poetics is presented (Bordwell, 2008, pp. 12 13), reinforcing the relevance of Trnka and Parajanov's spatially and temporally rooted films, in the past, present, and future.
The master’s dissertation Filming poetic ethnography: Dialogues between Jiří Trnka and Sergei Parajanov aims to compare the legacies of Czech animator Jiří Trnka (1912-1969) and Armenian filmmaker Sergei Parajanov (1924-1990) through the notion of “poetic ethnography”, originally related to the act of writing poetry as an anthropological research method. At first glance, these two directors could not be more different in their respective oeuvres. While Trnka used stop motion techniques to entangle fairy tales on the strings of the famous Czech marionette, Parajanov let a heart divided between Armenia, Georgia, and Ukraine guide tableau compositions. However, a comparative analysis reveals a duo of directors determined to poeticize the cultures of their origin countries against the ideals of socialist realism, a cultural doctrine that conditioned the artistic spheres of the Soviet Union, until its dissolution in 1991. Through three comparative case studies, animation and live action are juxtaposed, in the hopes of classifying poetic ethnography, according to Trnka and Parajanov, not only as a valid cinematic approach, but also as an act of resistance, motivated by specific sociopolitical contexts. Among the selected double bills are: The Czech Year (Špalíček, Jiří Trnka, 1947) and The Color of Pomegranates (Nran guyne, Sergei Parajanov, 1969) for their cyclical representation of Czech and Armenian heritages; Old Czech Legends (Staré pověsti české, Jiří Trnka, 1952) and Shadows of Forgotten Ancestors (Tini zabutykh predkiv, Sergei Parajanov, 1964) for combining the national imaginary and local traditions; and, finally, Prince Bayaya (Bajaja, Jiří Trnka, 1950) and Ashik Kerib (Ashugh gharibi, Sergei Parajanov, 1988) for their autochthonous portrayals of the mythological hero. Ultimately, the poetic alternative presented by Trnka and Parajanov to the “realist mandate in Soviet cinema” (Kim, 2022, p. 117) is equated with the subjective experience of culture that poetic ethnography introduced in the field of anthropology, prone to prioritize supposedly objective reports. Therefore, a research project in historical poetics is presented (Bordwell, 2008, pp. 12 13), reinforcing the relevance of Trnka and Parajanov's spatially and temporally rooted films, in the past, present, and future.
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Palavras-chave
Jiří Trnka Sergei Parajanov Poética etnográfica Animação Tableau Realismo Socialista Poetic ethnography Animation Socialist realism