O presente Relato é resultado dos estudos na disciplina Antropologia Visual, ministrada pelo professor Dr. Flavio Leonel no Programa de mestrado em Linguagens e Saberes na Amazônia da Universidade Federal do Pará, Campus de Bragança. Diante da fundamentação teórica apreciada durante a disciplina pensamos discutir o conceito de memória apresentado por Paul Ricoeur, em que o autor baseia-se em duas perguntas: de que há lembrança? De quem é a memória? Podemos atribuir a esses questionamentos a passagem de paradigma: do fato (...) que é lembrado, ao sujeito que lembra tal fato. Dessa forma, a memória dos Ka’apor pode remeter a imagens do passado e reconstituir o presente das novas aldeias criadas dentro do seu Território. Assim, o relato faz um recorte teórico de conceitos chaves do que foi o desenvolvimento da pesquisa, cujo tema é A SIGNIFICAÇÃO DO LUGAR E AS NOVAS TERRITORIALIDADES DOS KA’APOR NAS ALDEIAS IPU’Y RENDA E TURIZINHO. Além disso, proponho apresentar as reflexões dos pesquisadores Ana Luiza Carvalho, Fernando Tacca, Carlo Severi e Jacques Aumont no bojo do conceito de imagem relacionando com as fotografias adquiridas durante experiência como professora do projeto de escolarização ka’apor, nos anos 2012 e 2013, denominado Ka’a namõ jumu’e ha katu – Aprendendo com a Floresta. (shrink)

Gedreven door hun cinefiele en filosofische interesse voerden kunsthistorici Luc Deneulin en Johan Swinnen gesprekken met vooraanstaande filosofen uit Wallonië en Frankrijk over 'film als filosofie'. Ze gaan in dialoog met Jacques Aumont, Florence Caeymaex, Charles Pépin, Ollivier Pourriol, Michel Onfray, Jacques Rancière en Bernard Stiegler en reflecteren samen over de manier waarop film hun denken heeft beïnvloed. Als uitsmijter en eerbetoon werd bovendien een interview opgenomen met Jean Baudrillard over de kracht van het medium fotografie. Alle interviews werden (...) geïllustreerd met portretten van de filosofen gemaakt door Johan Swinnen. (shrink)

Sergei Eisenstein’s 110th anniversary celebrated in 2008 calls for a re-assessment of his overall heritage, which until now has been customarily perceived in Western film scholarship as - in Annette Michelson’s words - ’indissolubly linked to the project of construction of socialism’ - a view shared from Marie Seton to Jacques Aumont, from Kristin Thompson to Ian Christie and from David Bordwell to Anna Bohn. Not only did Eisenstein’s output magnificently and persuasively outlive this project, but from our vantage (...) point at the beginning of the twenty- first century we can see its position within the complex tapestry of the cultural, philosophical, political and aesthetic developments of the twentieth century from a different angle. Drawing on the recently published in Russia Eisenstein’s magnum opus Method and the author’s research on still unpublished Eisenstein’s writings of the same period, including his diaries, the present paper positions the discussion of Eisenstein’s theory-and-practice between two diametrically opposed philosophical poles - utopia and event. I argue that while Eisenstein’s theoretical writings were encompassed by a number of utopian ideas, which were, nevertheless quite different from the utopian projects of bolshevism, it is his cinematography, which now - in the context of an on-going discussion in continental philosophy - can be defined as ’cinema of event’ that demonstrates the biggest and radical discrepancy between Eisenstein’s work and both ideology and art of socialism - the world of ‘realized utopia.’ . (shrink)