Som e Memória no Documentário

Resumo (EN)

This thesis analyzed aspects of sound and memory in documentaries using as its main theoretical references the works of Bill Nichols (2001), Guy Gauthier (2011), Beatriz Sarlo (2007), Michael Pollak (1992) and Michel Chion (2011). Four documentaries were chosen to make up the core of this thesis. These films were selected because in them sound is in some way an outstanding element of the narrative. The documentaries chosen were: Aboio (Marilia Rocha, 2005), Beep (Karen Collins, 2016), Alive Inside (Michael Rossato-Bennett, 2010) and Carta Sonora (Mario Cassettari, Suzana Reck Miranda, 2010). In the analysis of the features related to sound and memory in these films, several aspects of documentaries were presented, such as the ethical issues faced by filmmakers in this kind of audiovisual work, and other factors that differentiate them from fiction films. Attention was also paid to the characteristics of sound recording and to several functions that sound may have in a film. Aspects of memory, such as collective memory, contributed to the understanding of how interviewees can assimilate memories of events that were not lived by them. Finally, several relations were established between sound and memory in documentary film, having in view that these two elements act resorting to subjectivity.