Do inimaginável: cinema, direitos humanos, cosmopoéticas
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2016-05-17
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Universidade Federal de Goiás
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This thesis interrogates the relation between film and human rights, based upon a
fundamentally theoretical and conceptual approach whose ultimate goal is the openning of
a broader research program: the elaboration of what I call a cosmopoetic atlas. Historically,
the main modes of relation between film and human rights consist in the uses of images as
documents to denounce violations and as part of the work of memory which surrounds those
violations. In this kind of context, film takes part in the construction of an archive of evil,
against which the “conscience of mankind” declares the principles of universal dignity of the
cosmopolitical project of human rights. At the same time, film takes part in the construction
of an archive of the common, in which the principles of human rights take up sensible forms.
While interrogating the problem of the becoming-sensible of the “conscience of mankind”,
one must acknowledge that one of the recurring motifs of the relation between film and human
rights consists in the theme of the unimaginable and the problem of the missing images.
Introduced through the reading of the 1948 Universal Declaration of Human Rights, the historical
and paradigmatic example of the images picturing the Nazi camps and concentrationary
experience rises up to a prominent place among the several studied objects, in an
analysis of the archiving process of the camps’ images as sensible evidences of the unimaginable
and of the forms of montage of the camps’ images as attempts at thinking their
meanings and constructing the archive of their memory. While the fiction of Samuel Fuller
and Orson Welles, for instance, tends to revisit the archive and to reorganize its elements
following plots and interests which do not belong to the original contexts of the images, the
documentary of Claude Lanzmann, for instance, finds its impulse in the refusal or, more
precisely, in the denegation of the archive. Between the fictional rearchiving and the denegation,
some experimental possibilities of remontage of the archive emerge, based upon the
anarchivic openness which destructures and reorganizes its images, in films by Alain Resnais,
Mikhail Romm and Jean-Luc Godard. Just as the cosmopolitical project of human
rights depends on the becoming-sensible of the “conscience of mankind” for its universal
dissemination, juridical concepts such as “genocide” or “crime against humanity” find one of
their privileged forms of sensible inscription in film images.
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RIBEIRO, Marcelo Rodrigues Souza. Do inimaginável: cinema, direitos humanos, cosmopoéticas. 2016. 336 f. Tese (Doutorado em Arte e Cultura Visual) - Universidade Federal de Goiás, Goiânia, 2016.