Martin Scorsese Biopics: visual memory for the future

Autores/as

  • Denize Correa Araujo Universidade Tuiuti do Paraná UTP
  • Cynthia Schneider UTFPR - Universidade Tecnologica Federal do Paraná

Palabras clave:

documentary, subjectivity, visual memory, selfie-biopic, accomplicebiopic, tribute-biopic

Resumen

El objetivo de este texto es analizar tres películas biográficas o biopics de Martin Scorsese para saber si pueden funcionar como una fuente de memoria visual o un testimonio para el futuro, aun cuando la subjetividad interfiere en los montajes de documentales sobre cine y teatro, literatura y música. Teniendo en cuenta el tono y la construcción de los biopics, los denominamos selfie-biopic, biopic-cómplice y biopictributo. El corpus principal de este estudio incluye documentales en tres formatos: un “biopic-cómplice” sobre el director de cine y teatro Elia Kazan, A letter to Elia (2010); un “selfie-biopic” sobre el escritor Fran Lebowitz, Public speaking (2010); y un “biopic-tributo” sobre música, George Harrison, living in the material world (2011), que retrata al guitarrista de los Beatles. El marco teórico de referencia incluye el concepto de memoria subjetiva de Beatriz Sarlo y el estudio de los intertextos de Julia Kristeva. Los conceptos de Bill Nichols y Fernão Ramos, así como la historia del documental de Deane Williams, son relevantes para la definición de los documentales actuales.

Biografía del autor/a

Denize Correa Araujo, Universidade Tuiuti do Paraná UTP

Denize Araujo, PhD in Comparative Lit, Cinema and Arts – UCR-USA;  Post-Doctorate in Documentary Cinema – UAlg-Portugal; Coordinator of the Post-Graduate Course in Cinema and Professor of the Master and Doctorate - PPGCom-UTP; Member of the International Council of IAMCR; Leader do GP CIC (ww.gpcic.net) CNPq; Director of Clipagem; Coordinator of the GT Image and Media Imaginaries– Compós; Vice-Head of the Visual Culture Working Group IAMCR and  Curator of the Film Festival of the International Biennial of Curitiba; Member of the Scientific Committee of SOCINE denizearaujo@hotmail.com  (+5541) 99983-6669

Cynthia Schneider, UTFPR - Universidade Tecnologica Federal do Paraná

Cynthia Schneider, Doctor in Cinema by the Unicamp-SP, Post-Doctorate of Documentary Cinema in development with a PNPD scholarship- PPGCom-UTP- Universidade Tuiuti do Paraná;  Professor of the Technological  Federal Institute of  Paraná;  Member of the Research Group Communication, Image and Contemporaneity - GP CIC (www.gpcic.net)-PPGCom-UTP; Member of SOCINE – Brazilian Society of Cinema Studies. cyls72@uol.com.br      (+5541) 99964-0146

Citas

Arneson, K. (2012). Representation through documentary: a post-modern assessment. Artifacts Journal. Missouri Univ. Avaliable in: https://artifactsjournal.missouri.edu/2012/03/representation-through-documentary-a-post-modern-assessment/

Bakhtin, M. (1984). Problems of Dostoevsky’s Poetics. Minneapolis: Univ of Minnesota Press.

Batty, D. & Johnston, C. (2014). Question and Answer with Mark Zuckerberg social network. Avaliable in: www.theguardian.com/technology/2014/nov/08/mark-zuckerberg-social-network-made-stuff-up-hurtful

Bingham, D. (2010). Whose lives are they anyway?. New Jersey: Rutgers UP.

Bradshaw, P. (2011). Review George Harrison. Avaliable in: http://theguardian.com/film/2011/sep/29/george-harrison-material-world

Brown, T. & Vidal, B. (s/d). Oxford Bibliographies. Avaliable in: www.oxfordbibliographies.com/view/document

Carlick, S. (2012). Martin Scorsese to unveil George Harrison Documentary. Exclaim. New Jersey: Rutgers UP.

Carroll, N. (1996). From real to reel: entangled in non-fiction film. In Theorizing the Movie Image. Cambridge: Cambridge UP.

Child, B. (2013). Nicole Kidman’s Grace Kelly biopic “inaccurate” say Monaco Royals. Avaliable in: http://www.theguardian.com/film/2013/jan/17/nicole-kidman-grace-kelly-biopic-innacurate

Deleuze, G. & Guattari, F. (1995). Mil Platôs: capitalismo e esquizofrenia. SP: Ed. 34.

Dirks, T. (s/d). Biopics Films. In Filmsite. Avaliable in: www.filmsite.org/biopics.html

Kristeva, J. (1980). Desire in Language: a semiotic approach to Literature and Art. Ed. Leon Roudiez, T. Gora et al. NY: Columbia UP.

Mangan, L. (2011). Cable Girl: Public Speaking. Avaliable in: www.theguardian.com/tv-and-radio/2011/feb/01/public-speaking-fran-lebowitz-scorsese

Matuszewski, B. (1898). Une nouvelle source de l’histoire du cinéma (Création d’un dépôt de cinématographie historique). Paris.

McCarthy, T. (2010). Review A letter to Elia. Avaliable in: www.indiewire.com/2010/09/review-a-letter-to-elia-22801

Miller, T. (1998). Technologies of Truth: Cultural Citizenship and the Popular Media. Ed. by Michael Renov, Faye Ginsburg, and Jane Gaines. Minneapolis: University of Minnesota Press.

Nichols, B. (2001). Introduction to Documentary. Bloomington & Indianopolis: Indiana UP.

Nichols, B. (1991). Representing Reality: Issues and Concepts in Documentary. Indianapolis: Indiana UP.

Nichols, B. (2001) How do documentaries differ from other types of film?. In Introduction to Documentary. Bloomington & Indianopolis: Indiana UP.

Patterson, T. (2010). The new Fran Lebowitz documentary. Free-range performance artist. Avaliable in: www.slate.com/articles/arts/culturebox/2010/11/freerange_performance_artist.html

Penafria, M. (1999). O filme documentário. História, identidade e tecnologia. Lisboa: Edições Cosmos.

Rabinowitz, P. (1994). They must be represented. London: Ed. Verso.

Rascaroli, L. (2012). The self-portrait film: Michelangelo’s last gaze. In The Cinema of me: the self and subjectivity in first person documentary. Ed. Alisa Lebow. NY: Columbia UP.

Ramos, F. P. (2008). Mas afinal... o que é mesmo documentário?. SP: SENAC.

Sarlo, B. (2007). Tempo passado: cultura da memória e guinada subjetiva. SP: Companhia das Letras; Belo Horizonte: UFMG.

Scott, L. (2012) Notes on Fran: the ethical camp and mute elegiac of FranLebowitz. In Research Gate GMBh. Berlin. Avaliable in: www.researchgate.net/publication/285701459_Notes_on_Fran_The_Ethical_Camp_and_Mute_Elegiac_of_Fran_Lebowitz

Stora-Sandor, J. (1984). L’humour juif dans la literature: de Job a Woody Allen. Paris: Presses Universitaires de France.

Filmography

A letter to Elia (2010), Martin Scorsese.

Amy (2015), de Asif Kapadia.

George Harrison: living in the material world (2011), de Martin Scorsese.

Grace of Monaco (2014), de Olivier Dahan.

Public Speaking (2010), de Martin Scorsese.

Steve Jobs (2015), de Danny Boyle.

The Social Network (2010), de David Fincher.

Descargas

Publicado

2019-03-29

Número

Núm. 25: DOCUMENTÁRIO E ATIVISMO | Documental y activismo | Documentary and activism | Documentaire et activism

Sección

ARTIGOS | Artículos | Articles | Articles

Licencia


DOC On-line adopta una licencia Creative Commons Internacional CC BY 4.0 que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en DOC On-line, lo que significa que:

1) La sumisión de un artículo implica que los autores están de acuerdo en que los derechos de primera publicación de su trabajo se otorgan a Doc On-line;

2) Después de la publicación en DOC On-line los autores pueden republicar su trabajo, en línea o en versión impresa bajo la condición de referirse claramente la primera publicación en DOC On-line.