Abstract
This paper examines how David Perlov’s Diary 1973-1983 articulates itself in a double movement of refusal and liberation. Based on the analysis of some opaque signs that repeat themselves through the film — such as photos without captions and names without bodies — and emphasizing the hesitations and oscillations of the filmmaker in the voice-over and in the way of filming and framing, the essay proposes thinking the Diary as a process of learning and detachment of two territories of origin: the tradition of modern cinema and the native country, Brazil.
Keywords
David Perlov; diary-film; everyday life; past