O webdocumentrio segundo Vertov

Transescritura, transmedialidad y transficcionalidad. Relaciones

contemporneas entre literatura, cine y nuevos medios
Universidade de Salamanca, 22 de set. 2016

Manuela Penafria
Universidade da Beira Interior
LabCom.IFP (www.labcom.ubi.pt)
manuela.penafria@gmail.com

Webdocumentrio web + documentrio

Documentrio e tecnologias digitais interativas:
- documentrio renova-se
- tecnologias digitais interativas exercitam as suas potencialidades (o
documentrio garante que o mundo da vida o referente)
Construo narrativa do documentrio linear: tendencialmente fragmentada
(ex: Lisboetas, 2004; Runas, 2009, filmes de Wiseman)
Manifestaes documentais:
- Facebook (pginas pessoais como autobiografias);
- Youtube (tudo filmar)
- abertura para o mundo com projetos participativos (Man with the camera:
the global remake, projeto de vdeo participativo em que uma nova verso
proposta diariamente a partir do convite que imagens traduzem o mundo de
hoje?, http://dziga.perrybard.net/ )
Atualidade do documentrio (linear ou on-line):
- alargamento da noo de imagem de arquivo
Filme de compilao/montagem (organizao do caos visual e sonoro)

Webdocumentrio - uma obra artstica disponibilizada na internet que

opera e apresenta um recorte potico do mundo da vida, sendo composta
por uma interface que integra e relaciona elementos multimdia
interativos (como texto, imagem, som) e outros elementos interativos de
comunicao (como fruns ou chats). (Nota: A opo pelo termo obra e no filme
justifica-se porque filme apenas um dos elementos que o webdocumentrio integra e porque se refere
a uma sequncia linear de imagens e sons.)

Paradigma da representao vs paradigma da interatividade

- imerso que depende da interface da obra, empenho e capacidades do
explorador
- ligao com o mundo da vida (ligao-interface)
- atravs e na rede que pensamos, sentimos e agimos no mundo da vida.
Espectador
O espectador nunca foi passivo. Para alm da relao emocional e cognitiva
acrescenta-se a ao fsica (apelo a clicar em cones, participao,..). O
espectador no apenas recetor. Perante designaes como utilizador ou
interator (interage com o computador sendo o mesmo entendido como uma
ferramenta de trabalho): a proposta que seja explorador.

Abordagens do webdocumentrio:
Centrada (ou tendencialmente centrada) o tema encontra-se delimitado espacial
e/ou temporalmente. Possui uma navegao disseminada.
Ex: Journey to the end of coal http://www.honkytonk.fr/index.php/webdoc/
Prison Valley http://prisonvalley.arte.tv/?lang=en

Global (ou tendencialmente global) o tema diz respeito a um universo alargado de

pessoas, sem uma clara delimitao espacial e/ou temporal. Possui uma navegao
cumulativa.
Ex: A journal of insomnia http://insomnia.nfb.ca/#/insomnia/
Out my window http://outmywindow.nfb.ca/#/outmywindow

Em qualquer dos casos, um webdocumentrio aparenta nunca estar concludo. Webdocumentrio permite uma
reformulao do conceito de documentrio: no se trata de uma representao, mas uma ligao
cognitiva e emocional com o mundo da vida.

Webdocumentrio e Vertov
Abordagem pela Teoria dos cineastas Consulta de: Kino-eye, The writings of Dziga Vertov, Annette Michelson
(Ed.), Kevin OBrien (Translat.), University of California Press, 1984
Texto: "On the significance of Nonacted cinema": p.36 "The cinema of yesterday and today is merely a commercial affair. Cinema's
path of development has been dictated solely by consideration of profit. () I'll condense what I've said: we have no film-objects. We
have the cohabitation of film-illustration with theater, literature, with music, with whomever and whatever, whenever, at any price.
p. 37 "We are the first to make film-objects with our bare hands perhaps clumsy, awkard, lacking shine, perhaps somewhat flawed, but
still necessary objects, vital objects, aimed at life and needed in life. We define the film-object in theses words: the montage 'I see'.
The film-object is a finished tude of absolute vision, rendered exact and deepened by all existing optical instruments, principally by
the movie camera experimenting in space and time. The field of vision is life; the material for montage construction, life; the sets, life;
the actors, life.
Texto "Kinoglaz (a newsreel in six parts)": p.39 "equipment intended for studio use is unsuited to our work. In this part the camera,
having chosen some easily vulnerable point, cautiously enters into life and takes its bearings in its visual surroundings. In subsequent
parts, along with an increase in the number of cameras, the area under observation will be extended. Gradually, through comparison
of various parts of the globe, various bits of life, the visible world is being explored. Each succeeding part will further clarify the
undesrtanding of realitty. The eyes of children and adults, the educated as well as the uneducated, are opening, as it were, for the first
time. Millions of workers, having recovered their sight, are beginning to doubt the necessity of supporting the bourgeois structure of
the world.
Texto: "The birth of Kino-eye": p. 41 "kino-eye as cinema analysis, kino-eye as the 'theory of intervals' () kino-eye is understood as
'that which the eye doesn't see' () as the possibility of seeing without limites and distances () implied in kino-eye were: all
cinematic means, all cinematic inventions, all methods and means that might serve to reveal and show the truth. Not kino-eye for
its own sake, but truth through the means and possibilities of film-eye, i.e., kinopravda ['film-truth'].
Texto: "On kino-pravda": p. 45 "the newsreel is organized from bits of life into a theme, and not the reverse. This also means that
Kinopravda doesn't order life to proceed according to a writer's scenario, but observes and record life as it is, and only then draws
conclusions from these observations. () One can build various film-objects from footage. Just as good bricks are needed for a house,
good film footage is needed to organize a film-object. () life, passing through the camera lens, does not vanish forever, leaving no
trace, but does, on the contrary, leave a trace, precise and inimitable."

Texto: "Artistic drama and Kino-eye": p. 47 "The actual theme of today's debate, 'Art and Everyday Life' interests us less than the topic, say,
of 'Everyday Life and the Organization of Everyday Life' () to record and organize the individual characteristics of life's phenomena into a
whole, an essence, a conclusion this is our immediate objective" p. 48 "movie camera's exploration and organization of our reality ()
"skillful organization of factual footage
Texto: "The same thing from different angles": p. 57 "The allegation is false that a fact taken from life, when recorded by the camera loses
the right to be calles a fact if its name, date, place, and number are not inscribed on the film. () represents a fact recorded on film, a filmfact as we call it. () In a film archive, a storehouse, or a museum where footage from current newsreels is kept in numbered chronologial
order, all the necessary data can be appended to each box of negatives, such as a detailed description of each film-fact, relevant
newspaper clippings, biographical and other data. This is necessary so that a film editor in constructing a film-object on a given theme will
not make errors and mix up the facts in time or space. In those films in which space is overcome by montage (for example, 'workers of one
country see those of another') it's all the more essential that the editor take into account all data on the film footage to be organized.()
This data only represents cover documents, as it were, for the editor, a kind of guide to the correct 'editing route'.
Texto: "Without words": p.119 "The film [Three songs about Lenin] translates poorly into verbal language, though in its image-language it
is easily accessible to any popular audience." Outro filme sem palavras: O homem da cmara de filmar
Texto: "I wish to share my experience": p.120 "all cinematic means, all cinematic possibilities, all cinematic inventions, techniques and
methods in order to make the invisible visible, the unclear clear, the hidden manifest, the disguised overt; in order to tell the truth about
our Revolution, about the construction of socialism, the Civil War.() to read in faces the thoughts that kino-eye revealed. () it is not
enough just to film bits of truth. These bits must be organized in order to produce a truth of the whole." p. 122: "A documentary film plan
is not something rigid. It is a plan in action. The production of the film follows the preliminary interactions of this plan of action with
newsreel of current events () In the process of shooting and editing the film, I covered thousands of pieces of paper with my writing,
all merely in order to show the truth on the screen. I had to write poems and short stories, dry reports, travel sketches and diagrams
and all this to achieve the graphic, crystalline composition of a given series of shots. () Three songs of Lenin required exceptionally
complex editing."

Texto "On the organization of a creative laboratory": p. 137 "Man freed from humiliation, from hunger, unemployment, poverty, ruin. Man
with the right to creation, with his rich, productive, development, with his mastery of techonology, science, literature, art. To show the
behavior of these men on the screen. Is there any finer task for the artist?" Para o laboratrio Vertov reclama 1) equipamento mas
tambm 2)"properly organizing our editing under standardized conditions" ou seja, preservao das imagens e sons. necessrio um
"permanent place for continual editing"(p.139), um "author's film archive" (p.140); 3) "experienced and specially prepared people" ou
seja, "permanent staff"(p.140)

Documentrio, duas vias:

1) Nanook, o Esquim, de Robert Flaherty representao do Outro, documentrio como um discurso sbrio (Bill
Nichols, Introduction to documentary, Indiana University Press, 2001)
2) O homem da cmara de filmar, de Dziga Vertov film-object (registo e organizao segundo a prpria
imagem/som). Analogia e no duplicao da realidade. Figurao e no representao (cinema no mimesis mas a
inveno figurativa; um cinema onde o espectador no encontra representao mas uma
crtica/problematizao/interveno sobre a realidade).
Se o webdocumentrio uma evoluo do documentrio ento a via de Vertov que est em desenvolvimento.