Found footage e apropriação de imagens: uma análise de Faceless

Abstract

In this article we intend to analyze the appropriation and reuse of archive images in found footage cinema, an aesthetic regime that has the characteristic of using pre-existing images as the basis for its realization. Our specific objective is to analyze the film Faceless (Austria, Dir. Manu Luksch, 2007, 50'). Part of a homonymous artistic project, the film is the result of the appropriation and assembly of images produced by CCTV cameras, closed circuit television, spread in the city of London, United Kingdom. The images were acquired under the terms of the UK Data Protection Act of 1998, which provides citizens with the right to access personal data stored on computers, including images recorded by CCTVs. The filmic narrative was developed in the process of obtaining the images, whose law imposes limits on the privacy of others in the event of their publication or reuse. According to the directives of the law, this can be done by obscuring the face of the other individuals present in the scene. Such conditions are assimilated by the scenario and by the filmic narrative, which dialogues critically with the contemporary system of increasing surveillance and visibility.