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A estória de um fardo : o cinema como um olhar uncanny do real
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Abstract(s)
Este relatório de projeto teórico-prático propõe uma reflexão sobre o cinema como um meio narrativo capaz de desvelar e questionar as estruturas da realidade através de um olhar inquietante, estranhamente familiar (uncanny) sobre a mesma. Neste sentido, esta investigação apresenta a Greek Weird Wave como um movimento cinematográfico contemporâneo que, através da construção de narrativas alegóricas e de uma poética metonímica, lança um olhar distorcido sobre a realidade, não apenas como uma tentativa de a compreender, mas com o objetivo de captar o profundo mal-estar com a política moderna de vigilância, gestão da austeridade, pânico moral e o controlo sobre a vida que se vivia na Grécia após o eclodir da crise financeira que afetou o país a partir de 2008. Neste contexto, analisa-se a obra Dogtooth (2009) de Yorgos Lanthimos, como um filme, onde a alegoria e a metonímia, surgem como ferramentas e/ou linguagem biopolítica, interessada nas dinâmicas de governo e poder de um determinado grupo e na criação de um realismo que acomoda e causa estranheza. Tendo como referência estes princípios e mecânicas da atuação da alegoria enquanto um olhar uncanny do real, nasce a curta-metragem A Estória de um Fardo. O filme emerge do cruzamento entre o desejo de explorar visualmente um objeto quotidiano – um porta-fatos azul, que jaz pendurado numa das traves de uma claraboia – com o texto O Mito de Sisifo (1942) de Albert Camus. Tendo como referência o realismo estranho da Weird Wave, procura-se uma narrativa de tom alegórico e surrealista, que explore um sentimento de estagnação e alienação existencial, a partir da fadiga emocional de uma jovem que se apercebe que não consegue chorar: um conto sobre alguém que deseja libertar-se dos fantasmas que a aprisionam dentro de si, alguém desconectada das suas próprias emoções, mas que deseja com toda a força reanimar essa parte do seu ser.
This theoretical-practical Project report proposes a reflection on cinema as a narrative medium capable of unveiling and questioning the structures of reality through an unsettling, eerily familiar (uncanny) gaze. In this sense, this investigation presents the Greek Weird Wave as a contemporary cinematic movement that, through the construction of allegorical narratives and a metonymic poetics, casts a distorted view of reality – not merely as an attempt to understand it, but with the aim of capturing the profound unease surrounding modern politics of surveillance, austerity management, moral panic, and the control over life experienced in Greece following the outbreak of the financial crisis that affected the country from 2008 onwards. Within this context, the study analyzes Dogtooth (2009) by Yorgos Lanthimos as a film in which allegory and metonymy emerge as tools and/or a biopolitical language, engaged in exploring the dynamics of governance and power within a given group, while constructing a realism that both accommodates and provokes estrangement. Based on these principles and the mechanics of allegory as an uncanny lens on reality, the short film A Burden’s Tale was conceived. The film arises from the intersection of a desire to visually explore an everyday object – a blue garment bag hanging from a beam beneath a skylight — with Albert Camus’ The Myth of Sisyphus (1942). Inspired by the strange realism of the Weird Wave, the film seeks an allegorical and surrealist narrative that delves into a sense of stagnation and existential alienation, following the emotional fatigue of a young woman who realizes she is unable to cry: a tale about someone who wishes to free themselves from the ghosts that imprison them within, someone disconnected from their own emotions, but who desires with all their strength, to reignite that part of their being.
This theoretical-practical Project report proposes a reflection on cinema as a narrative medium capable of unveiling and questioning the structures of reality through an unsettling, eerily familiar (uncanny) gaze. In this sense, this investigation presents the Greek Weird Wave as a contemporary cinematic movement that, through the construction of allegorical narratives and a metonymic poetics, casts a distorted view of reality – not merely as an attempt to understand it, but with the aim of capturing the profound unease surrounding modern politics of surveillance, austerity management, moral panic, and the control over life experienced in Greece following the outbreak of the financial crisis that affected the country from 2008 onwards. Within this context, the study analyzes Dogtooth (2009) by Yorgos Lanthimos as a film in which allegory and metonymy emerge as tools and/or a biopolitical language, engaged in exploring the dynamics of governance and power within a given group, while constructing a realism that both accommodates and provokes estrangement. Based on these principles and the mechanics of allegory as an uncanny lens on reality, the short film A Burden’s Tale was conceived. The film arises from the intersection of a desire to visually explore an everyday object – a blue garment bag hanging from a beam beneath a skylight — with Albert Camus’ The Myth of Sisyphus (1942). Inspired by the strange realism of the Weird Wave, the film seeks an allegorical and surrealist narrative that delves into a sense of stagnation and existential alienation, following the emotional fatigue of a young woman who realizes she is unable to cry: a tale about someone who wishes to free themselves from the ghosts that imprison them within, someone disconnected from their own emotions, but who desires with all their strength, to reignite that part of their being.
Description
Keywords
Cinema Ficção Uncanny Alegoria Metonímia Biopolítica Greek Weird Wave Yorgos Lanthimos O mito de Sísifo Fiction Allegory Metonymy Biopolitics The myth of Sisyphus
Pedagogical Context
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Without CC licence