Art and memory: a portrait of History through the cinematographic view of Roberto Rossellini - social and cultural perspectives
This article intends to reflect on concepts of history contextualized socio-culturally, supported by cinematographic language. The starting point will be the analysis of films from Italian cinema Roberto Rossellini, such as the classics "Rome, Open City", "Germany, Year Zero" and "Paisà". For the accomplishment of this intention, the adopted methodology will be the Filmic Analysis proposed by Manuela Penafria (2009), complemented by the proposal of James Aumont and Michel Marie (2004), validation of elements such as textual transcription of dialogues, soundtrack, frames and images of pre-selected films, decomposing them into scenes and points of view of the director. A critical analysis of the cinematographic relationship with the story will be problematized, based on theoretical references of the theme, mainly in the work translated by the historian Robert Rosenstone (2010). The concepts of history then perceived in their various dimensions are analyzed looking for how to process as social and cultural practices of different individuals and groups over the years, in critical and decisive moments of humanity, as were the Italian Unification and the two great wars Worldwide. Since the cinematographic language can condense diverse views on a phenomenon, it can present as a means for the development of a critical and reflective approach to a history-cinematographic relationship and the objects that permeate this discourse. What matters is not to analyze the film as copying the fact of reality, but as the set of elements that seeks to capture a society and its social practices, both in the past and in the present. Thus, a search to understand historical concepts within a specific socio-cultural context through playful support, in this case or in a cinema, can configure the new element for a reflection of some moments that mark a story