Documentos de cultura e imagem cinematográfica

uma abordagem benjaminiana

Abstract

In 1940 Benjamin told that there is no document of civilization which is not at the same time a document of barbarism. Judging by that, we must understand this author as a supporter of realism. The cinema would get closer of history once that in its milliseconds would emerge the revolutionary instant able to set ourselves free. Beyond that, he claimed about an authentic writing of history, besides of the winner’s history, which would be inauthentic. However, Walter Benjamin, since the final of 1920 decade, develops a theme that we could call as “poverty of experience”, as well as the “decline of the storyteller art”. Both are intertwined and concerns about decisively transformations in storytelling form and carrying out activities. It seems that the question is not that simple, because “an authentic history” should have more about with a certain power to narrate and communicate experiences that to collect “the way it really was”. I want to propose a benjaminian conceptual approach about cinema proposing a visual strength of visibility: besides showing facts, the milliseconds of cinema set free affections, and, for such, one have to go there where fiction and reality becomes one. Such a way of storytelling, by visibility, would be also an antidote to subservience of actual media.

[Mechanical reproduction, fascism, Benjamin]