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Authors
Advisor(s)
Abstract(s)
O que é que um filme, em que não vemos um ato violento, nos diz sobre a representação
da violência? Partindo de uma fenomenologia da violência e de uma análise das suas
configurações concretas na modernidade em geral e no Estado Novo português em
particular, o trabalho presente tem por objetivo abordar a questão da representação da
violência através do exemplo de 48 de Susana de Sousa Dias. Para tal, serão analisadas as
estratégias específicas do documentário de enfrentar as dificuldades discursivas,
psicológicas e éticas que tanto o regime representativo salazarista como a experiência da
violência e as formas de tortura nas prisões do Estado Novo impõem à possibilidade da sua
representação, considerando ainda os seus modos de lidar com as lacunas e as
incapacidades das imagens e dos testemunhos.
What is it that a film, in which we don’t see any violent act at all, tells us about the representation of violence? Departing from a phenomenology of violence and from a discussion of its configurations in modernity in general and in the Portuguese Estado Novo in particular, this thesis approaches the question of the representation of violence by analysing the film 48 by Susana de Sousa Dias. For this purpose, it will discuss the documentary’s specific strategies of facing the discursive, psychological and ethical difficulties that the representative regime and the experience of the violence and the forms of torture in the prisons of the Estado Novo impose on the possibility of its representation, considering its modes of dealing with the blank spaces and incapacities of image and testimony.
What is it that a film, in which we don’t see any violent act at all, tells us about the representation of violence? Departing from a phenomenology of violence and from a discussion of its configurations in modernity in general and in the Portuguese Estado Novo in particular, this thesis approaches the question of the representation of violence by analysing the film 48 by Susana de Sousa Dias. For this purpose, it will discuss the documentary’s specific strategies of facing the discursive, psychological and ethical difficulties that the representative regime and the experience of the violence and the forms of torture in the prisons of the Estado Novo impose on the possibility of its representation, considering its modes of dealing with the blank spaces and incapacities of image and testimony.