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Representações cinematográficas da alma de Méliès a Matrix
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Abstract(s)
Projectando o invisível, nomeadamente a alma, para um ecrã ou outras superfícies, foi sempre uma ambição humana; a sua realização técnica começou nos primórdios da humanidade. Exteriorizar a alma e torná-la visível significava ganhar controlo sobre ela. A sua expressão imagética no nosso imaginário colectivo ocidental ficou influenciada por mitos como 'Orfeu e Eurídice' e por descrições na literatura (por ex. a visita de Ulisses ao Hades em Odisseia de Homero). O Reino dos Mortos e os seus habitantes foram retratadospor muitos pintores (Rubens, Kratzenstein, Kasparides), nos séculos XVIII e XIX, as fantasmagorias de Schröpfer e Robertson anteciparam a ‘fotografia de espíritos’ (Mumler, etc.), mas só a tecnologia da cinematografia iria fornecer o habitat ideal para o património pictórico da alma. Neste artigo serão debatidas algumas das suas várias representações cinematográficas de Méliès a Matrix.
Projecting the invisible, namely the soul, onto the screen or other surfaces has always been a human ambition; its technical realization began with the dawn of mankind. Exteriorizing the soul and making it visible meant gaining control over it. Its imagery in our western collective imaginary was influenced by myths such as ‘Orpheus and Eurydice’ and descriptions in literature (e.g. Ulysses’ visit to Hades in Homer’s Odyssey). The underworld and its inhabitants were depicted by many painters (Rubens, Kratzenstein, Kasparides), in the 18th and 19th centuries the phantasmagorias of Schröpfer and Robertson anticipated ‘spirit photography’ (Mumler, etc.), but only the technology of cinematography would provide the ideal habitat for the pictorial heritage of the soul. In this article I discuss some of its various cinematographic representations, from Méliès to Matrix.
Projecting the invisible, namely the soul, onto the screen or other surfaces has always been a human ambition; its technical realization began with the dawn of mankind. Exteriorizing the soul and making it visible meant gaining control over it. Its imagery in our western collective imaginary was influenced by myths such as ‘Orpheus and Eurydice’ and descriptions in literature (e.g. Ulysses’ visit to Hades in Homer’s Odyssey). The underworld and its inhabitants were depicted by many painters (Rubens, Kratzenstein, Kasparides), in the 18th and 19th centuries the phantasmagorias of Schröpfer and Robertson anticipated ‘spirit photography’ (Mumler, etc.), but only the technology of cinematography would provide the ideal habitat for the pictorial heritage of the soul. In this article I discuss some of its various cinematographic representations, from Méliès to Matrix.
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Keywords
Alma Cinema Fotografia Expressão imagética Soul Photography Imagery