{"id":1706,"date":"2024-05-15T21:28:34","date_gmt":"2024-05-15T19:28:34","guid":{"rendered":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/?p=1706"},"modified":"2024-05-15T21:28:34","modified_gmt":"2024-05-15T19:28:34","slug":"notas-sobre-excertos-about-some-excerpts","status":"publish","type":"post","link":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/2024\/05\/15\/notas-sobre-excertos-about-some-excerpts\/","title":{"rendered":"notas sobre excertos – about some excerpts"},"content":{"rendered":"\n
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No excerto de Recr\u00e9ations,<\/em> a realizadora \u00e9 uma observadora que se mant\u00e9m no exterior, sem criar rela\u00e7\u00e3o directa, sem intervir. A c\u00e2mara centra-se num mi\u00fado – sen\u00e3o seria ca\u00f3tico, tentar seguir todo o recreio – e \u00e9 uma c\u00e2mara m\u00f3vel, ocupada em acompanhar os movimentos do mi\u00fado, \u00e9 uma c\u00e2mara solta que faz com que o espectador fique imerso. O mi\u00fado nunca olha para a c\u00e2mara, a mi\u00fada sim, mas isso n\u00e3o parece fazer diferen\u00e7a.<\/p>\n\n\n\n

In the excerpt from Recr\u00e9ations<\/em>, the director is an observer who remains outside, without creating a direct relationship, without intervening. The camera focuses on one kid – otherwise it would be chaotic, trying to follow the whole playground – and it’s a mobile camera, busy following the kid’s movements, it’s a loose camera that immerses the viewer. The boy never looks at the camera, the girl does, but that doesn’t seem to make any difference.<\/p>\n\n\n\n

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No excerto de Chronique d\u2019un \u00e9t\u00e9<\/em> faz-se um inqu\u00e9rito de uma pergunta s\u00f3: \u00e9 feliz? \u00c9 uma pergunta simples, mas \u00e9 uma pergunta enorme, de certa forma \u00edntima, e \u00e9 uma pergunta que feita assim de repente desarma as pessoas. A mesma pergunta que recebe diferentes respostas, ou diferente maneiras de responder ou de n\u00e3o responder. Quando as pessoas aceitam a pergunta o inqu\u00e9rito passa a conversa e as pessoas falam um pouco de si. A c\u00e2mara \u00e9 m\u00f3vel, segue as entrevistadoras e a reac\u00e7\u00e3o dos entrevistados, s\u00e3o os dois centrais.<\/p>\n\n\n\n

The excerpt from Chronique d’un \u00e9t\u00e9<\/em> asks a single question: are you happy? It’s a simple question, but it’s a huge question, somewhat intimate, and it’s a question that suddenly disarms people. The same question receives different answers, or different ways of answering or not answering. When people accept the question, the survey turns into a conversation and people talk a bit about themselves. The camera is mobile, it follows the interviewers and the reaction of the interviewees.<\/p>\n\n\n\n

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No excerto de Trabalhos de Casa<\/em> o pr\u00f3prio dispositivo \u00e9 filmado, a equipa tem um uma posi\u00e7\u00e3o dominadora, o homem que faz as perguntas, de \u00f3culos escuros, s\u00e9rio, \u00e9 uma figura de autoridade. As perguntas que faz s\u00e3o as perguntas que outras figuras de autoridade fariam: os pais, os professores. Todos os mi\u00fados s\u00e3o filmados da mesma maneira, planos fixos, frontais, centrados no rosto, longos planos em que vemos o qu\u00e3o aflitos est\u00e3o.<\/p>\n\n\n\n

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In the excerpt from Homework<\/em>, the device itself is filmed, the team has a dominating position, the man asking the questions, wearing sunglasses, serious, is an authority figure. The questions he asks are the questions that other authority figures would ask: parents, teachers. All the children are filmed in the same way, fixed shots, frontal, centered on the face, long shots in which we see how distressed they are.<\/p>\n\n\n\n

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No excerto de Les \u00c2mes Mortes,<\/em> a primeira parte \u00e9 uma entrevista, uma senhora fala para a c\u00e2mara e conta a hist\u00f3ria do seu marido, a segunda parte n\u00e3o h\u00e1 palavras, apenas o som do vento e imagens de um zona deserta, n\u00e3o percebemos muito bem, e depois, ao mesmo tempo que quem est\u00e1 a filmar, parece, descobrimos ossos, e mais ossos, e mais ossos. De certa forma \u00e9 a imagem para a hist\u00f3ria que a senhora contava, mas n\u00e3o se sabe o nome, os nomes, daqueles ossos e s\u00f3 nos resta um sil\u00eancio pesado, sem palavras.<\/p>\n\n\n\n

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In the excerpt from Les \u00c2mes Mortes<\/em>, the first part is an interview, a lady speaks to the camera and tells the story of her husband, the second part there are no words, just the sound of the wind and images of a deserted area, we don’t understand very well, and then, at the same time as whoever is filming, it seems, we discover bones, and more bones, and more bones. In a way, it’s the image for the story the lady was telling, but we don’t know the name, the names, of those bones and all we’re left with is a heavy silence, without words.<\/p>\n\n\n\n

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No excerto de Lettres de Sib\u00e9rie<\/em> temos uma voz-off, a voz off faz-nos olhar para as imagens de determinada maneira, faz um coment\u00e1rio e al\u00e9m disso h\u00e1 uma m\u00fasica que marca uma determinada emo\u00e7\u00e3o e cria um ambiente – como no excerto de Terra sem p\u00e3o <\/em>de Bu\u00f1uel. Mas Chris Marker est\u00e1 a mostrar-nos mesmo isso e por tr\u00eas vezes vemos as mesmas imagens, com a mesma montagem, mas cuja voz off e m\u00fasica muda, alterando muito o significado que damos \u00e0quelas imagens.<\/p>\n\n\n\n

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In the excerpt from Lettres de Sib\u00e9rie<\/em> we have a voice-over, the voice-over makes us look at the images in a certain way, it makes a comment and there is also music that sets a certain emotion and creates a mood – like in the excerpt from Bu\u00f1uel’s Las Hurdes<\/em>. But Chris Marker is showing us just that and three times we see the same images, with the same editing, but whose voice-over and music changes, greatly altering the meaning we give to those images.<\/p>\n\n\n\n

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No excerto do Terra sem p\u00e3o<\/em>, a voz off \u00e9 um texto escrito, lido com um certo tom, sublinhado pela m\u00fasica. \u00c9 tudo triste. A voz off diz as raz\u00f5es do que estamos a ver, as imagens s\u00e3o-nos apresentadas atrav\u00e9s do que \u00e9 dito, n\u00f3s estamos de fora.<\/p>\n\n\n\n

In the excerpt from Las Hurdes,<\/em> the voiceover is a written text, read with a certain tone, underlined by the music. It’s all sad. The voiceover tells us the reasons for what we are seeing, the images are presented to us through what is said, we are on the outside.<\/p>\n\n\n\n

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Tanto num excerto como noutro as voz off foram escritas ap\u00f3s a montagem, para a montagem.<\/p>\n\n\n\n

(A este prop\u00f3sito vimos um excerto de The girl chewing gum<\/em> de John Smith que brinca com isto: a voz off parece que \u00e9 a voz fora de campo de um realizador que via dando indica\u00e7\u00f5es ao que se passa dentro de campo. \u00c9 muito engra\u00e7ado.)<\/p>\n\n\n\n

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In both excerpts, the voice-overs were written after the editing, for the editing. (In this regard, we saw an excerpt from The girl chewing gum<\/em> by John Smith which plays with this: the voiceover seems to be the off-field voice of a director who is giving directions to what is happening on the pitch. Very funny.)<\/p>\n","protected":false},"excerpt":{"rendered":"

No excerto de Recr\u00e9ations, a realizadora \u00e9 uma observadora que se mant\u00e9m no exterior, sem criar rela\u00e7\u00e3o directa, sem intervir. A c\u00e2mara centra-se num mi\u00fado – sen\u00e3o seria ca\u00f3tico, tentar seguir todo o recreio – e \u00e9 uma c\u00e2mara m\u00f3vel, … Continuer la lecture →<\/span><\/a><\/p>\n","protected":false},"author":69,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/posts\/1706"}],"collection":[{"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/users\/69"}],"replies":[{"embeddable":true,"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/comments?post=1706"}],"version-history":[{"count":1,"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/posts\/1706\/revisions"}],"predecessor-version":[{"id":1728,"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/posts\/1706\/revisions\/1728"}],"wp:attachment":[{"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/media?parent=1706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/categories?post=1706"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/blogcinemacentansdejeunesse.org\/filmer-l-autre\/wp-json\/wp\/v2\/tags?post=1706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}