Directed flashes, intensified images: photofilm and the persistence of time

Abstract

This work analyzes the stylistic developments of photofilms, paying particular attention to the memorialistic experiences resulting from the relationship between photographic material and cinematographic montage. Starting from some chronological landmarks of world and national cinematography, the study considered the writings of Érico Elias, Jacques Rancière, Gilles Deleuze, and Georges Didi-Huberman in order to expose operations that produce temporal resonances, claiming social and artistic visualities. Under this heterogeneous adjustment, whose gesture inscribes and tensions reminiscences, the study chooses the work Cinema contemporâneo (2019), by Felipe André Silva, as an object of analysis, in order to demonstrate how photofilms constitute a fertile field for differences that exceed the visible form enclosed in the framing, acquiring legibility alongside dialectical choices that elevate the degree of intensity of the images and the historical reality that they internally archive. Indeed, this aesthetic identification reaffirms debates about the cultural state traversed by technical images, proceeding as an artistic formulation based on transversal criteria, involving and delimiting passages between other ways of narrating that acquire consistency from what they manage.