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)
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A narrativa revela imagens-lem-
brança acessadas por memórias
que expõem feridas imaginais e
imagéticas causadas por violências
sistemáticas do regime colonial,
mas que também acessam indivi-
dualidades e evidenciam afetos possíveis. Chitun-
da, assim, investiga a rememoração e realiza um
trabalho arqueológico, como propõe Marks [2000],
nos convidando a olhar e ouvir não o que está
visível ou é causal, mas o que está nas lacunas, na
ausência, nas imagens-lembrança. Sua pesquisa
através das imagens escancara a disjunção entre
história oficial e memória privada que revela uma
“outra história” em perspectiva, contribuindo com a
diversificação do conhecimento histórico aportado
pelo conhecimento pela imagem.
TESOUROS VOLÁTEIS
É necessário mover-se, colocar-se em ação, assu-
mir o
reconhecimento atento para possibilitar uma
outra forma de acesso às imagens. Esse movimento,
contudo, requer uma força, por vezes, dolorosa. As
imagens-lembrança, imagens ópticas e virtuais a
que nos referimos podem não ser reconciliadoras e,
pelo contrário, revelar a incompletude ou “falsidade”
da história oficial e das próprias memórias privadas.
Em
FotogrÁFRICA
, Chitunda faz sua investigação
ciente dos processos implicados, ao narrar em
off
:
A história a que Chitunda se refere é a da origem
de seus pais, crescidos na missão evangélica em
Angola, passando pelo fim do regime colonial
e enfrentando posteriormente uma guerra civil,
condições essas que levaram a família a escapar
de seu país de origem e se refugiar no Brasil, es-
pecificamente em Olinda, cidade que também se
constitui, material e imaterialmente, por processos
de colonização e transculturação. Chitunda reme-
xe sua identidade diaspórica na busca por uma
origem “pura”, mas o que encontra são rastros,
sobrevivências e outras formas de existência. O
contato entre culturas decorrente dos processos
coloniais implica disputas de poder, como des-
taca Stuart Hall em diálogo com Homi Bhabha,
que inclui dominador
e
dominados. O poder não
só oprime, invisibiliza, apaga, restringe e inibe:
ele também “é produtivo; gera novos discursos,
novos tipos de conhecimento [ou seja, o orienta-
lismo], novos objetos de conhecimento [o Oriente]
Eu cresci ouvindo essa história. Uma história que aprendi a contar como se fos-
se minha própria memória. Uma história que sempre me impressionou, pois sou
a única filha desta família que nasceu no Brasil. Podemos ficar muito impressio-
nados com uma história, principalmente quando somos crianças, e agora me
dou conta do quão perigoso é contar uma história a partir de um único ponto
de vista, pois isso pode alimentar preconceitos [FOTOGRÁFRICA, 2016]
MENDONÇA, Fernanda M. Imagens-lembrança e identidades no cinema intercultural de Tila Chitunda.