Cinematografia da cidade: arqueologia das Imagens do cineasta ítalo-alagoano Guilherme Rogato (Limiar 1933)

Abstract

The films draw cartographies and configure their own spatial - temporal conceptions. This paper is about the first film recorded in Maceió - Alagoas, in 1933, entitled – Is Marriage a Business? - directed by the italian-alagoano filmmaker Guilherme Rogato (1898-1966). The film is classified as a comedy drama which, in the manner of a novel report, deals with the romantic relationships and family at the time that leads us to the first oil exploration in Brazil. The scenes take place among streets, squares, green spaces, special buildings and monuments, so that sketching the morphology of the city. Stand out between sets of filming, the Mundaú and Manguaba lagoons, the poet`s house Jorge de Lima, located in Sinimbu Saquare, the Theater and the Deodoro Square, the Metropolitan Cathedral at the D. Pedro II Square, the Mirante da Jacutinga, Trapiche da Barra Bridge, Garça Torta Bridge and Riacho Doce, where we will find the tower of oil; in addition to ancient villages in the Pontal da Barra and Barra Nova. These are picturesque places of the past, which gives the artist`s work a great value as historical record, providing also the recognition of changes in the process of modernization of Maceió. In other words, this is a movie, which the city is configured with emphasis and evidence. Our aim is to identify the type of spatial-temporal concept expressed in the film, in the context of urban morphological elements existing in it. Therefore, for this study it is necessary to take the theory and the archaeological method of philosopher Michel Foucault (1926-1984), which consists of an analysis of discursive statements. Foucault's archaeology (or arqueogenealogical) was also addressed by philosophers Gilles Deleuze (1925-1995) and Félix Guattari (1930-1992), from which we obtain some notions, which underlie, explicitly or implicitly, throughout the dissertation. Among other theorists consulted, we highlight the important contribution of the researcher, architect and urbanist Jose Manuel Ressano Garcia Lamas, as well as the theorist and art historian Heinrih Wölfflin (1864-1945) and the sociologist Barbara Mennel (s.d.), author of Cities and Cinema [2008]. For this analysis we have outlined the remarkable eve of 1933 and the city of Maceió, as cut-outs-temporal spaces demarcated. As for instruments, we use the bibliographical and electronic sources, interviews, photographic, iconographic and documental surveys. Our understanding in terms of cinematography of the city, is the drawing resulting film archaeological examination of a movie; that is, its cartographies listed. At the end, we developed an appendix with a brief biography of the filmmaker, Salvatore Guglielmo Rogato. It is expected that this research contributes to the understanding of the dynamics of living space and to greater conciliation between the film knowledge, philosophy, architecture and urbanism, among others to be mentioned.