出版社:Centro de Pesquisa e Documentação de História Contemporânea do Brasil
摘要:Treating cinema as a historical document raises a number of theoretical-methodological issues since it requires us to questio the nature of the relationshiip between motion picture images and the society that produces these images. In order to analyse this debate, the article examines th evalue that has historically been attached to cinema as a document and systematizes different conceptions and approaches to the topic. It also endeavors to clarify the differences between working with written documents, as most historians do, and working with audio-visual documents, in this case, movies. The treatment of such material demands intellectual reflection that extrapolates the knowledge acquired within a historian's particular professional field, thereby posing certain challenges, outlined in closing.
其他摘要:Treating cinema as a historical document raises a number of theoretical-methodological issues since it requires us to questio the nature of the relationshiip between motion picture images and the society that produces these images. In order to analyse this debate, the article examines th evalue that has historically been attached to cinema as a document and systematizes different conceptions and approaches to the topic. It also endeavors to clarify the differences between working with written documents, as most historians do, and working with audio-visual documents, in this case, movies. The treatment of such material demands intellectual reflection that extrapolates the knowledge acquired within a historian's particular professional field, thereby posing certain challenges, outlined in closing.