THE PATINA OF FILM. From time’s cinematic reproduction to History’s cinematographic representation

Authors

  • Ivan Capeller Universidade Federal Fluminense

DOI:

https://doi.org/10.11606/issn.1982-8160.v3i1p213-229

Keywords:

History, Cinema, Mimesis

Abstract

An attempt to put into a more systemic perspective all the possible relations bettween cinema and history. Four levels of historicity are proposed for film studies according to the particular way that each one of them inscribes time into film. The documental aspect inherent to film is discussed in relation to its linguistically codified character, unveiling the tension bettween its (technical) processes of cinematical reproduction and its (aesthetical) codes of cinematographical representation, and pointing to the fact that its indicial traces always allow for history, in a self-reflexive discourse, to inscribe itself, either as a document or as a text, unintentionally or not, in film. Finally, three important films in the history of cinema are reinterpreted according to its respective positions regarding the relations beetween cinema and history.

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Author Biography

  • Ivan Capeller, Universidade Federal Fluminense
    Doutorando do Programa de Pós-Graduação em Comunicação da Universidade Federal Fluminense (UFF). Mestre em Comunicação pela mesma universidade.

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Published

2011-12-15

Issue

Vol. 3 No. 1 (2009)

Section

Em Pauta/Agenda

License

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How to Cite

Capeller, I. (2011). THE PATINA OF FILM. From time’s cinematic reproduction to History’s cinematographic representation. MATRIZes, 3(1), 213-229. https://doi.org/10.11606/issn.1982-8160.v3i1p213-229