Nós estamos em guerra!
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| Publication Date: | 2024 |
| Format: | Article |
| Sprog: | por |
| Source: | Repositório Comum do Brasil - Deposita |
| Download full: | https://deposita.ibict.br/handle/deposita/848 https://doi.org/10.47456/col.v14i24.45496 https://periodicos.ufes.br/colartes/article/view/45496 |
Summary: | This visual essay is part of a project aimed at fostering encounters between art images and video content available on YouTube to construct, through groupings, new aesthetic bodies, other images. Why include YouTube in a creative process? Because it is a platform populated by extensive and easily accessible visual material. Pellegrini, Reis, Monção, and Oliveira (2010) emphasized that the YouTube platform functions as a bank of audiovisual products where image and sound complement each other with simplicity. It is a tool for disseminating images and the most diverse discourses, "nourishment for an audience that yearns to be represented" (Pellegrini; Reis; Monção; Oliveira, 2010, p. 3). The principle driving this action of combining art images and material available on video platforms is that of montage. Carone (1973), in an attempt to define montage in the field of arts, pointed out that it is an activity that unites strange elements within a single body. What links these different elements in the same space is the spectators' emotions and reasoning. Carone (1973) revisited Eisenstein to broaden understanding. For the Russian filmmaker, montage is an act of mental fusion or synthesis, "in which isolated details (fragments) are united, at a higher level of thought, through an unusual manner, (...) different from the common logical form" (Carone, 1973, p. 4). The images that comprise this study are montages that emerged, simply and directly, from the encounter between the first episode of the documentary *Wars of Brazil* (2020), especially Ailton Krenak's lines, and reproductions of Jean Baptiste Debret's watercolors available in the material *O Brasil de Debret* (1993). The images used in the work were: Plate No. 1 - Camacã Indian - Mongoio; Plate No. 2 - Camacã Indian; Plate No. 20 - Indian soldiers from Curitiba, escorting savages; Plate 26 - Virgin forests of Brazil, on the banks of the Paraíba River; Plate 63 - Tiger hunting; Plate 85 - Fruits of Brazil; Plate 92 - Disembarkation of Princess Leopoldina; Plate 100 - Acclamation of Dom Pedro, Emperor of Brazil. Watching the documentary evoked images produced by the artist and painter who was part of the French artistic mission in the 19th century. The intersection between Ailton Krenak's words and Debret's work caused tension! |
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