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Este projeto teórico-prático propõe pensar os lugares contemporâneos e as suas metamorfoses, no contexto das cidades e da globalização. Nesta pesquisa, entende-se o campo – as periferias rurais – e a cidade como um todo, moldado pelas comunidades que neles habitam. Procura-se, assim, analisar a dialética dos lugares em transformação, a partir da sua relação com a atual conceção do tempo, da espera e da presença humana. A partir de conceitos como imagens e lugares de espera, cidade-mundo e comunidade-mundo, pretende-se refletir sobre a influência da modernização do mundo, o anular das distâncias, o imediatismo tecnológico e, consequentemente, a ocupação da paisagem através do olhar. Neste sentido, analisa-se a obra O Movimento das Coisas (1985), de Manuela Serra, como o culminar da investigação teórica sobre as metamorfoses do tempo, dos lugares e das comunidades. O pensamento sobre os lugares contemporâneos, bem como a sua problematização, é consolidado por uma prática cinematográfica que, por sua vez, parte do sino enquanto objeto do constante retorno – um elo entre o passado e o presente. A exploração das interseções entre os diferentes conceitos abordados no primeiro capítulo é, então, cimentada através da realização da curta-metragem Nunca estive tão perto. Deste modo, foi possível verificar que a paisagem tem a capacidade de devolver o olhar e que o fenómeno do anular das distâncias contribuiu para uma contração do mundo.
This theoretical-practical project proposes thinking about contemporary places and their metamorphoses in the context of cities and globalisation. In this research, the countryside - the rural peripheries - and the city are understood as a whole, moulded by the communities that inhabit them. The aim is to analyse the dialectic of places in transformation, based on their relationship with the current conception of time, waiting and human presence in communities. Using concepts such as images and places of waiting, world-city and world-community, the aim is to reflect on the influence of the modernisation of the world, the annulment of distances, technological immediacy and, consequently, the occupation of the landscape through the gaze. To this end, Manuela Serra’s The Movement of Things (1985) is analysed as the culmination of theoretical research into the metamorphoses of time, places, and communities. Thinking about contemporary places, as well as problematising them, is consolidated by a cinematographic practice that, in turn, starts with the bell as an object of constant return - a link between the past and the present the exploration of the intersections between the different concepts discussed in the first chapter is then cemented through the making of the short film Nunca estive tão perto. In this way, it was possible to see that the landscape can return the gaze and that the phenomenon of the cancellation of distances has contributed to a contraction of the world.
This theoretical-practical project proposes thinking about contemporary places and their metamorphoses in the context of cities and globalisation. In this research, the countryside - the rural peripheries - and the city are understood as a whole, moulded by the communities that inhabit them. The aim is to analyse the dialectic of places in transformation, based on their relationship with the current conception of time, waiting and human presence in communities. Using concepts such as images and places of waiting, world-city and world-community, the aim is to reflect on the influence of the modernisation of the world, the annulment of distances, technological immediacy and, consequently, the occupation of the landscape through the gaze. To this end, Manuela Serra’s The Movement of Things (1985) is analysed as the culmination of theoretical research into the metamorphoses of time, places, and communities. Thinking about contemporary places, as well as problematising them, is consolidated by a cinematographic practice that, in turn, starts with the bell as an object of constant return - a link between the past and the present the exploration of the intersections between the different concepts discussed in the first chapter is then cemented through the making of the short film Nunca estive tão perto. In this way, it was possible to see that the landscape can return the gaze and that the phenomenon of the cancellation of distances has contributed to a contraction of the world.
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Palavras-chave
Cinema Paisagem Cidade-mundo Campo Espera Distância Comunidade Olhar Landscape World-city Countryside Waiting Distance Community Gaze