Cinecartographing aberrant images from the film Honeyland (2019)

dives between layers, landscapes, education and cinema

Abstract

In this article, cinecartographies of the film Honeyland (2019) were created and experimented with, based on deep dives into its cinematographic images. It is a theoretical, narrative and experimental production, which dialogues with theoretical references of the philosophies of difference, mainly the film studies of Gilles Deleuze and his writings on plateaus about virtualities, multiplicities and powers with Félix Guattari. Discusses the cartographer and the cartographing of Sueli Rolnik and the aberrant movements that exist in David Lapoujade's images. More than cartographies, we forge cinecartographies in our work, understanding these as a cartography of film images. We divide the writing into four parts. In the first and second, we weave similarities between the important concepts brought up by the readings as we make theoretical-methodological considerations about cartography and cinecartography. In the third part, we weave narratives and some considerations constructed with the cinecartographed images from the film and the contaminations that echoed after the encounter with the research. Finally, in the last part we make some final considerations. Rehearsals leaked through the text in experimentation with the film and its movements and put together a whole rhizome. We were able to cine-cartograph movements that forced and violated thought, producing other narratives and places and territories and affections and faces.