(Auto)biografia e performance em Stories we tell (2012), de Sarah Polley

Authors

  • Pedro Henrique Trindade Kalil Auad Universidade de Brasília.

Keywords:

documentary, Sarah Polley, autobiography.

Abstract

This article investigates the (auto)biographical procedures adopted by Sarah
Polley in her documentary Stories we tell. For this purpose I focus on the chorus of voices that compose the film, the lack of hierarchy between archive images and the recreated images. Thus, it would be possible to think about an autobiography theory sustained by the filmmaker as well as the performative function of storytelling.

Author Biography

Pedro Henrique Trindade Kalil Auad, Universidade de Brasília.

Doutor em Teoria da Literatura e Literatura Comparada pelo programa de Pós-graduação de Estudos Literários da Faculdade de Letras da Universidade Federal de Minas Gerais.

References

ANDERST, L. (2013). Memory’s Chorus: Stories We Tell and Sarah Polley’s Theory of Autobiography. Sense of Cinema. 69. Disponível em: http://sensesofcinema.com/2013/feature-articles/memorys-chorus-stories-we-tell-and-sarah-polleys-theory-of-autobiography/

CARLSON, M. (2010). Performance: uma introdução. Belo Horizonte: Ed. UFMG.

CHI, W.; VANSTONE, G. & WINSTOR, B. (2017). The Act of Documenting: Documentary Film in the 21st Century. New York: Bloomsbury Publishing.

COELHO, S. S. & ESTEVES, A. C. (2010). A narrativa autobiográfica no filme documentário: uma análise de Tarnation (2003), de Jonathan Caoutte. Doc On-line. 9 19-42. Covilhã.

COMOLLI, J. (2010). Cine contra espectáculo. Buenos Aires: Manatial.

DIÓGENES, E. V. (2017). Narrativas (auto)biográficas no documentário brasileiro: do privado ao público. São Paulo: Tese de doutorado. Pontifícia Universidade Católica de São Paulo.

DOUCET, A. (2015). Ontological narrativity and the performativity of the Stories We Tell. Visual Studies. 30 (1) 98-117. New York.

HUSSEYN, A. (2014). Cultura do passado-presente. Rio de Janeiro: Contraponto.

MARTINS. L. M. (2001) Tal pai, qual filha? O Eixo e a Roda. 7 129-141. Belo Horizonte.

PORTON, R. (2013). Family Viewing: an interview with Sarah Polley. Cineaste. Summer 2013.

SMAIL, B. (2016). Female subjectivity and the problem of realism. In HOLE, K. L.; Jela ča, D.; KAPLAN, E. A. & PETRO, P. (ed.) The Routledge Companion to Cinema & Gender. London, New York: Routledge.

SOUZA, M. I. D. S. (2012). O documentário performático e a política de uma subjetividade contemporânea. Estudos sobre las Culturas Contemporâneas. 18 (36) 11-31. Colima.

TEODORO, J. (2013). Knowing you, knowing me. filmcomment, 2013, p. 52-55.

Filmografia

F for Fake (1973), de Orson Welles.

I Am a sex addict (2005), de Caveh Zahedi.

Sink or Swim (1990), de Su Friedrich.

Stories We Tell (2012), de Sarah Polley.

The Thin Blue Line (1988), de Errol Morris.

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Published

2018-09-28

Issue

No. 24: O FILME-ENSAIO | El filme-ensayo | The essay film | Le film-essai

Section

DOSSIER TEMÁTICO | Dossier temático | Thematic dossier | Dossier thématique

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