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Tristes tropiques é a sétima entrega dos meus estudos cinematográficos. Num primeiro momento pretendia analisar a canteira que Rose Hobart (Joseph Cornell, c. 1936) deixara em East of Borneo (George Melford, 1931), é dizer, recuperar as cenas nom tocadas por Cornell para deste jeito entender tanto a história que se agacha detrás de Rose Hobart como as escolhas de Cornell: que decidiu incorporar na sua onírica peça, de que elementos prescindiu.
Finalmente, ante a impossibilidade de conseguir umha boa cópia da película de Melford, o estudo centrou-se diretamente na obra de Cornell. O meu labor consistiu em reordenar os planos e recuperar os diálogos pertinentes, para assi podermos intuir a infantil e exotizante narraçom original e compreender melhor os mecanismos utilizados por Cornell na sua montage.
Os planos que Cornell tirou doutras fontes, e que justificam o título alternativo The Eclipse, desaparecem na minha versom. No seu canto, mas respeitando paradigma e duraçom, incluo planos tirados da película antropológica Kopfjäger von Borneo (Victor von Plessen, 1936), contemporânea de Rose Hobart e cuja etnografia pretendidamente científica é igual de questionável que a ficçom de East of Borneo.
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Tristes tropiques is the seventh installment of my film studies. At first, I intended to analyze the quarry that Rose Hobart (Joseph Cornell, c. 1936) had left in East of Borneo (George Melford, 1931); my aim was to recover the scenes Cornell had left untouched in order to understand both the story behind Rose Hobart and Cornell’s choices — what he decided to incorporate into his dreamlike piece, what elements he did without.
Finally, faced with the impossibility of obtaining a good copy of Melford’s film, my study focused directly on Cornell’s work. My work consisted in reordering the shots and recovering the pertinent dialogues, so that we can intuit the childish and exoticizing original narration and better understand the mechanisms used by Cornell in his montage.
The shots that Cornell drew from other sources, and which justify the alternative title The Eclipse, disappear in my version. In its stead, always respecting paradigm and duration, I use shots taken from the anthropological film Kopfjäger von Borneo (Victor von Plessen, 1936), contemporary with Rose Hobart and whose supposedly scientific ethnography is just as questionable as the fiction of East of Borneo.
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