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Ousadia e Fidelidade, sobre a forma-‐curta na cinematografia de Pedro Costa: imagem e espaço, pensamento; três cortes, uma leitura
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Orientador(es)
Resumo(s)
A tese que se quer provar tem como motivo central uma reflexão sobre
as imagens em movimento no interior das relações entre cinema, espaço e
política. Privilegiando a causa do cinema em Pedro Costa enquanto invenção
de um espaço comum, – que é como quem diz dar forma a uma prática política
–, tomámos em consideração a ideia de “corte”, a qual, pensamos, esclarece de
modo decisivo e justo o entendimento da imagem cinematográfica mais
conveniente à sua análise.
Esse propósito conduziu-nos a particularidades, expressões-síntese ou
figuras notáveis no conjunto das obras do realizador que, entendemos,
adquirem um valor determinante quando se toma a forma curta como objecto
privilegiado de atenção.
Nas curtas-metragens, Pedro Costa traça uma linha essencial da sua
obra, dada a ver, sobretudo, no modo como constrói as sequências de planos.
Alguma coisa de vital, muito concreta, que não necessita de nada além da sua
materialidade e do ritmo que a estrutura para se tornar enigmática. Se é certo
que encontramos nelas uma disposição que reflecte um processo desenvolvido
nos filmes de longa duração, pensamos, contudo, que essa compreensão é aqui
interpelada por uma experiência mais discursiva e mais imaginativa. Essa
razão parece-nos, por isso, poder fundamentar um carácter menos documental
e mais evocativo para os seus filmes, assim como, distinguir um espaço não
apenas misterioso mas enigmático.
The hypothesis that this research intends to prove has its focal point on a study of the moving images through the relationship between cinema, space and politics. Prioritising the origin of cinema on Pedro Costa's work as the invention of a common space – that is to say to bring it to being a political practice –, we took into consideration the notion of "cut", which, on our opinion, justly and decisively clarifies the comprehension of the cinematic image that is most convenient to his oeuvre analysis. This goal led us to peculiarities, expressions of synthesis or notable figural singularities in Costa's body of work that, we understand, acquire a determining value when the short format is understood as a privileged object of attention. In his short films Pedro Costa traces a vital line of work that is perceived, essentially, in the manner he constructs sequences of takes – something vital and concrete that does not require anything beyond the materiality and rhythm that structures it to become enigmatic. If indeed we find in them a configuration that mirrors the process he developed in the feature films, we think, however, that this understanding is, in these cases, challenged by a more discursive and more imaginative experience. This motive, in our opinion, could substantiate a character less documentary and more evocative to his movies, as well as could distinguish a space not only mysterious but enigmatic.
The hypothesis that this research intends to prove has its focal point on a study of the moving images through the relationship between cinema, space and politics. Prioritising the origin of cinema on Pedro Costa's work as the invention of a common space – that is to say to bring it to being a political practice –, we took into consideration the notion of "cut", which, on our opinion, justly and decisively clarifies the comprehension of the cinematic image that is most convenient to his oeuvre analysis. This goal led us to peculiarities, expressions of synthesis or notable figural singularities in Costa's body of work that, we understand, acquire a determining value when the short format is understood as a privileged object of attention. In his short films Pedro Costa traces a vital line of work that is perceived, essentially, in the manner he constructs sequences of takes – something vital and concrete that does not require anything beyond the materiality and rhythm that structures it to become enigmatic. If indeed we find in them a configuration that mirrors the process he developed in the feature films, we think, however, that this understanding is, in these cases, challenged by a more discursive and more imaginative experience. This motive, in our opinion, could substantiate a character less documentary and more evocative to his movies, as well as could distinguish a space not only mysterious but enigmatic.
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Palavras-chave
Pedro Costa image cinema space imagem thinking espaço short-form pensamento forma-curta