Abstract
O artigo analisa a relação entre cinema e história considerando esse suporte como um 'lugar de memória'. Para isso, analisa-se o filme A Espiral (1975), dirigido por Chris Marker e Armand Mattelart, um documentário montado com materiais pesquisados em arquivos que se dedica a analisar a Unidade Popular no Chile. Após o golpe de Estado de 1973, seus realizadores pretenderam construir um conhecimento histórico que combatia a visão de que a ditadura 'normalizava' o caos instaurado no país, denunciando que o governo de Salvador Allende havia sido vítima de um grande boicote organizado pela direita. Nesse sentido, a montagem organiza um dossiê com base em 'provas' encontradas em arquivos.
Highlights
This article examines the relationship between cinema and history, considering this support as a ‘site of memory.’ In the article the film La Spirale (1975), directed by Chris Marker and Armand Mattelart, is analyzed
Cinema can be seen as one of the ‘sites of memory’ defined by Pierre Nora. As in these spaces defined by the French historian, awareness of the rupture with the past is confused with the
The idea of making a film about the conflicts during the Unidad Popular government in Chile came from a filmmaker who had been concerned with political productions about Latin America since the 1960s
Summary
This article examines the relationship between cinema and history, considering this support as a ‘site of memory.’ In the article the film La Spirale (1975), directed by Chris Marker and Armand Mattelart, is analyzed. Like their makers, the images of the Chilean activist documentaries and of Chile Films, recorded during the Unidad Popular government, were exiled.
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