“Filme de Arquivo” e representações visuais da informação: contribuições da análise fílmica pelo método comparatista de constelação.

Abstract

“Archive films” are characterized by the use of pre-existing images in audiovisual productions. These films use image archives from historical collections, institutions that hold audiovisual and photographic archives, as well as personal or private collections. In addition to still images (photographs) or moving images (fragments of other films, newsreels, newsreels, advertisements, video clips, etc.), fragments of audio archives and images from textual documents can also be used in the films. The practice of reusing images in films coincides with the beginning of the development of cinema. It is a practice that filmmakers have been developing over many years. In this sense, this exploratory research, which adopted bibliographic, documentary and filmographic research procedures, sought to investigate a method of film analysis in “archive films” with the aim of highlighting the informative potential of these films. There is a demand for professionals to develop activities of treatment of audiovisual collections that involve organization, preservation, representation and access. The method found and proposed was the comparative approach of film constellation. In the three films analyzed, Negros (2008) by Mônica Simões; 48 (2009) by Susana de Sousa Dias and Retratos de Identificação (2014) by Anita Leandro, similarities, affinities and differences were identified in relation to the use of certain types of archival images that make up the narrative of these films. The course of film analysis resulted in the proposal to identify and record the location of the originals or copies of the images used in the films. These records involve the description of the custodian institutions or personal and private collections where the originals or copies of the reused images are located. According to the Nobrade (Brazilian standard for archival description), the record of the existence of originals or copies of a unit of description can be made in “related source areas”. Furthermore, the “archive films” by using tangible forms of information – images – can be characterized in a notion of visual representation of information. This research hopes to contribute, based on the proposed film analysis undertaken, to the visibility and preservation of image collections and archives, to promote new perspectives for the archival discipline and to strengthen the social commitment of Information Science.