Ultrapassando Vedações e Resgatando Memórias
DOI:
https://doi.org/10.5380/cam.v11i2.20204Keywords:
Aborígenes Australianos, representações visuais, histórias, recuperação, memóriaAbstract
Neste texto pretende-se refletir sobre a importância das representações visuais na redescoberta e recuperação de histórias do violento passado colonial da Austrália, reinvestindo-as de significado e poder de reflexão e ação. Com este objetivo, exploram-se duas importantes referências: a investigação de Roslyn Poignant sobre o encarceramento de um grupo de indígenas australianos no mundo do espectáculo Ocidental, com a sua recuperação de fotografias do arquivo colonial, e o filme Rabbit-Proof Fence (2002), que lida com o processo histórico que se designou na Austrália por “Gerações Roubadas” – exemplos que procuram romper com o silêncio da memória indígena australiana e resgatá-la.
References
BAINES, Stephen Grant. 2003. “Organizações Indígenas e Legislações Indigenistas no Brasil, na Austrália e no Canadá”. Arquivos do Museu Nacional 61(2): 115-128.
EDWARDS, Elizabeth. 2001. Raw Histories: Photographs, Anthropology and Museums. Oxford & New York: Berg.
GARIMARA, Doris Pilkington. 1996. Follow the Rabbit-Proof Fence. Brisbane: University of Queensland Press.
HUGHES-D'AETH, Tony. 2002. “Which Rabbit-Proof Fence? Empathy, Assimilation, Hollywood”. Australian
Humanities Review 27. Disponível em: http://www.australianhumanitiesreview.org/archive/Issue-September-2002/hughesdaeth.html. Acesso em: 27 dez. 2009.
HUMAN RIGHTS AND EQUAL OPPORTUNITY COMMISSION (HREOC). 1997. Bringing Them Home: Report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from their Families. Disponível em: <http://www.austlii.edu.au/au/special/rsjproject/rsjlibrary/hreoc/stolen/>. Acesso em: 10 dez. 2009.
MCCARTHY, Greg. 2003. The Obstinate Memory in Australian Films. School of History and Politics, University of Adelaide. Disponível em: <http://www.utas.edu.au/government/APSA/GMcCarthyfinal.pdf>. Acesso em: 27 dez. 2009.
POIGNANT, Roslyn. 2003. “The Making of Professional ‘Savages’ - From P.T. Barnum (1883) to the Sunday Times (1998)”. In C. Pinney & N. Peterson (eds.) Photography’s Other Histories. Durham & London: Duke University Press.
POOLE, Deborah. 1997. Vision, Race and Modernity: A Visual Economy of the Andean Image World. Princeton:
Princeton University Press.
SCHAFFER, Kay; POTTER, Emily. 2004. “Rabbit-Proof Fence, Relational Ecologies and the Commodification of Indigenous Experience”. Australian Humanities Review 31-32. Disponível em: http://www.australianhumanitiesreview.org/archive/Issue-April-2004/schaffer.html>. Acesso em: 27 dez. 2009.
TATZ, Colin. 1999. “Genocide in Australia”. Journal of Genocide Research 1(3): 315-352.
WOLFE, Patrick. 1999. Settler Colonialism and the Transformation of Anthropology – The Politics and Poetics of na Ethnographic Event. London & New York: Cassel.
Filmografia:
GUZMAN, Patrício. 1997. Chile, La Memoria Obstinada. Canadá/França: La Sept-Arte/ Les Films d'Ici/ National Film
Board of Canada (NFB). 52 min.
GUZMAN, Patrício. 1975-1979. La Batalla de Chile. Chile/França/Cuba: Equipo Tercer Amo / Instituto Cubano del Arte e Industrias Cinematográficos (ICAIC). 3 partes. 264 min.
NOYCE, Philip. 2002. Rabbit-Proof Fence. Austrália: Rumbalara Films / Showtime Australia production / Miramax. 94 min.
SPIELBERG, Steven. 1993. Schindler’s List. Estados Unidos: Universal Pictures / Amblin Entertainment
Downloads
How to Cite
Issue
Section
License
Authors who publish in this journal agree to the following terms:
1 Authors retain copyright to work published under Creative Commons - Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) which allows:
Share — copy and redistribute material in any medium or format
Adapt — remix, transform, and build upon material
In accordance with the following terms:
Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes have been made. You must do so under any reasonable circumstances, but in no way that suggests that the licensor endorses you or your use.
Non-Commercial — You may not use the material for commercial purposes.
2 Authors are authorized to distribute the version of the work published in this journal, in institutional, thematic, databases and similar repository, with acknowledgment of the initial publication in this journal;
3 Works published in this journal will be indexed in databases, repositories, portals, directories and other sources in which the journal is and will be indexed.