A imagem inquieta: pós-produção e sobrevivência no cinema de Gus Van Sant

Abstract

The present research proposes to make an iconological analysis of part of the work of the North American filmmaker Gus Van Sant, using two fundamental concepts, namely Post-Production (BOURRIAUD, 2009) and Survival (WARBURG, 2013, DIDI- HUBERMAN, 2013). We chose five of their main films, respectively: Psycho (1998), Gerry (2002), Elefante (2003), Last Days (2005) and Paranoid Park (2007), for believing they give breaths to the analyzes and the above-mentioned concepts. In the first moment we try to think this filmografía from artistic procedures like: appropriation, remake, remix, rereading; procedures related to contemporary art, whose modus operandi can be synthesized by the term post-production. In the second moment of the research we try to think about this filmography in relation to the history of art, analyzing this work from the idea of survival (nachleben), a concept derived from the singular iconology created by the historian of art Aby Warburg, who tried to think the image by prism of the survival of ancient forms in diverse cultural and artistic manifestations. Finally, we propose a visual essay about these cinematographic works, using as an inspiration the "Atlas Mnemosyne" - atlas of images that synthesizes the Warburguian method of investigation - thus privileging the imagery power to the detriment of the traditional historiography based on the word.