A construção da nostalgia no cinema: uma análise sobre a nostalgicidade em jogador nº1

Abstract

This research analyzes the phenomenon of nostalgia in contemporary culture, from its origins as a war disease, through the psychological interpretation in which it was associated with the pain caused by the passage of time, to the recent understanding conceived by the media: a communicative practice that triggers well-being. In an approach focused on cinema, the investigation made it possible to identify technical and aesthetic processes used as strategies to operationalize a “nostalgization” of narratives. These processes were grouped into six collections: references; sequels, remakes and reimaginings; reconstruction of the period; visual effects; soundtrack and script. When addressing the audiovisualization of nostalgia, we rely on Henri Bergson, based on the concept of duration, and Suzana Kilpp, through audiovisualities, to present the proposal of “nostalgicity”, a virtuality active in technoculture capable of creating a powerful atmosphere to evoke memories. The existence of this nostalgic quality was analyzed in the feature film Ready player one (Steven Spielberg, 2018) through a methodological movement that articulated dissection, disassembly, excavation and deconstruction of images, removing 182 frames from the flow. This laboratory work, supported by Walter Benjamin and Massimo Canevacci, led to the development of three constellations: nostalgia of the spectator-body (inclusion of references not identified by the narrative that encourage the spectator to play a game of recognition of the origins and derivations of certain images), nostalgia of the film world (emphasis on explicitly offered references, in different variations and levels of understanding, demarcating that this is an audiovisual work that articulates cultural references) and historical-temporal nostalgia (establishment of an auratic ambience originating from a period in the past that pulsates a certain technocultural imaginary). While the collections are on the material level, the constellations are on the order of potency. They are durations of both Ready player one and audiovisual nostalgia, which allows them to be updated in other cinematographic works.