O Inferno, de Henri-Georges Clouzot entre a montagem da estória, a montagem da história e a história da montagem

Resumo (EN)

The unfinished film Inferno (L'enfer, France, Henri-Georges Clouzot, 1964), and the documentary Henri-Georges Clouzot's Inferno (L'enferd'Henri-Georges Clouzot, France, Serge Bromberg and Ruxandra Medrea, 2009 ) are our objects of analysis in this article, in which we examine cinematographic editing strategies through image superimposition. Inspired by kinetic art and avant-garde cinema of the 1920s, the most striking images in Clouzot's film represent an experimental indication of how to edit overlapping images from the perspective of the 1950s, and were the subject of reflection in the 2009 documentary, which sought understand the tragic creative process of the film. Based on reports from Clouzot's team, reviews and previous analysis by researcher Marion Schmid on the documentary, the objectives of this article are to highlight the editing strategies as an artistic contribution with an experimental approach to Clouzot's unfinished work, to perceive their reflections on the sophisticated narrative by Bromberg and Medrea, in addition to commenting on the importance of Clouzot’s film for the history of cinematographic editing.