Ao caminhar entrevi lampejos de beleza: Jonas Mekas e uma vida escrita por imagens.

Abstract

The film has always been a place for experimentation. A place to put in the match the world, the time, the way to look, the life. Making movies is putting the world, life, bodies, space and time in motion. A place, which not only moves, but also invents all of that. Here we take the decision to talk about the crossings of forces coming from the relation between Jonas Mekas1s cinema (a cinema guided by self- writing) and the daily experience. Reviewing how the common practices of the day-by day can be instrumental to a certain self-production, which reverberate through time in his documentary. Taking the relationship of Jonas Mekas’s cinema and self-writing for the possibilities created for changing temporality. Think a movie by its timeless appeal, by the relationship with present tense, opening up the potential for new images. Realizing this relationship as a field of intensities that triggers the experience and creates a community of people and images by the developments of affections. Thus, we launch the hypothesis that the camera shares in Mekas’s movies a certain self-production constructed in daily experience that explores the self, and the world. This director joins fragments of sensations and traces of life and assembles their imagery narratives - that are constant through performances and fabulations - they seem likely to live in harmony in the world. The editing as a notebook, a diary, and a letter is crucial in these productions, because they bring to the movies an unfinished essence, in other words, it always carries a narrative that can be reconsidered, rewritten, reviewed. However, we bring some authors who have helped us to tread this path. A straight influence comes from two authors Michel Foucault (2009) and his work, "What is an author" and Jacques Rancière with "The Distances among Cinemas" (2012) and "Aisthesis: Scenes from the Aesthetic Regime of Art" (2013). Deleuze and Guattari (1995) by various paths crossing through this landscape, as well as Georges Didi-Huberman, Walter Benjamin, Giorgio Agamben, Jorge Larossa Bondia and Phillipe Lejeune. We also work with contemporary theorists such as Phillipe Dubois, Beatriz Furtado, Cezar Migliorin to compose the theoretical dialogue with an object that has multiple inputs. This is not a sample of this director’s production, but some works selected by the potentially thought about the presence of the director in his work, the experience of the images themselves, and the composition of memory, desires and affections by self-writing