Amador (1979), de Krzysztof Kieslowski, e o cine-olho de Dziga Vertov

• Ano de defesa: 2018
• Autor(a) principal: MELLO, Davi Marques Camargo de
• Orientador(a): Cánepa, Laura Loguercio
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Anhembi Morumbi
• Programa de Pós-Graduação: Programa de Pós-Graduação Mestrado em Comunicação
• Departamento: Universidade Anhembi Morumbi::Diretoria de Pesquisa e Pós-graduação Stricto Sensu
• País: Brasil
• Palavras-chave em Português: Comunicação; Cinema; Polônia; Kieslowski; Vertov; Análise fílmica
• Palavras-chave em Inglês: Cinema; Poland; Kieslowski; Vertov; Film analysis.
• Área do conhecimento CNPq: CIENCIAS SOCIAIS APLICADAS
• Resumo em Inglês: Starting out working with documentaries on short films, the Polish filmmaker Krzysztof Kieślowski achieved international status with his second fiction feature, Camera Buff (Amator, 1979), centered on a factory worker who acquires a cinematographic camera and perceives it as a new eye capable of exposing contradictions in the sociopolitical context around him. With that in mind, and with a focus on film ethics and aesthetics, this research seeks a similarity of Kieślowski's feature film with the concept of kino-eye conceived by the Soviet filmmaker Dziga Vertov, a disciplinary method of view that focuses on capturing life unawares and filmic reflexivity. The camera on Camera Buff is quite singular, due to the director's choice for a device that does not differentiate textures, merging his own camera with the one handled by the protagonist Filip Mosz (Jerzy Sthur). The duplicity of the camera, cultivated by the montage, creates a uniform and autonomous illusion, thus becoming a resource for self-reflection about filmmaking, working as a political metaphor while producing private records and granting power to the average person – elements that also mark Vertov’s work, whose principles are linked to a social understanding of the world and the images.
• Link de acesso: http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1778

Starting out working with documentaries on short films, the Polish filmmaker Krzysztof Kieślowski achieved international status with his second fiction feature, Camera Buff (Amator, 1979), centered on a factory worker who acquires a cinematographic camera and perceives it as a new eye capable of exposing contradictions in the sociopolitical context around him. With that in mind, and with a focus on film ethics and aesthetics, this research seeks a similarity of Kieślowski's feature film with the concept of kino-eye conceived by the Soviet filmmaker Dziga Vertov, a disciplinary method of view that focuses on capturing life unawares and filmic reflexivity. The camera on Camera Buff is quite singular, due to the director's choice for a device that does not differentiate textures, merging his own camera with the one handled by the protagonist Filip Mosz (Jerzy Sthur). The duplicity of the camera, cultivated by the montage, creates a uniform and autonomous illusion, thus becoming a resource for self-reflection about filmmaking, working as a political metaphor while producing private records and granting power to the average person – elements that also mark Vertov’s work, whose principles are linked to a social understanding of the world and the images.