Fabiana Ferreira
Biographical note
Fabiana Ferreira is a PhD candidate in Museology at Universidade Lusófona with a grant from Unesco; she completed her master’s degree in Information Science at UnB, in February 2020, with research on public policies for audiovisual preservation. She has a bachelor’s degree in Advertising from UnB and in Journalism from Iesb. She took intensive courses in 16mm Production and Digital Video at New York University, the city where she began her work as an editor. She worked for over 10 years on several audiovisual projects, and was awarded several prizes (Sundance – USA, Locarno – Switzerland, Herzog – Brazil). For ten years she has been a servant of the Brazilian Institute of Museums, working on the articulation and international cooperation between Brazil and partner countries and on the creation of regional policies for museums in platforms such as Ibermuseus and Unesco. Currently on leave from her position, she is living in France with exclusive dedication to the research in progress for her thesis defense expected for December 2023.
Areas of academic and scientific interest
- Visual Arts
- Cinema
- Museology
- Public Policies
- International Relations
- Heritage
PhD project
- O Patrimônio cinematográfico sob as lentes da Sociomuseologia
- Title
- Doctorate Professor Marcelo Cunha
- Advisor
Abstract
Film collections are not contemplated in the studies of the field of memory and heritage, neither under aspects of management, preservation and conservation; nor under aspects that concern cinema as a cultural manifestation, social memory, tool of manifestation and representativeness. In the field of audiovisual production, the discussion of cinematographic heritage is displaced, in view of the fact that the focus of the debates in this field is the making, the execution, the production of the artifact. For us, there is a relationship between these absences: the lack of preservation policies for cinematographic heritage and the isolation of cinematographic collections in museum discussions seem to us to be causes or consequences of each other. We propose that it is possible to build policies for the preservation of film heritage from the insertion of the theme in the field of museology, from the dialogue with the communities of artists, filmmakers, producers and academics, together with the State. Only with the communities engaged and participating these memory institutions become perennial and more resistant to crises and governments – methodology – suggestion of a methodology to create a network of MISes and Film libraries. To this end, our goal is to discuss issues about cinematographic heritage through the lens of Sociomuseology, studying the trajectory of preservation of cinematographic heritage from the emergence of cinema to the explosion of digital production from the perspective of cultural heritage and memory policies.