Suchergebnisse

The profound transformations of the cinema and audiovisual industries (indeed their growing interdependence) that present new challenges in the 1990s have not as yet provoked a global, coherent response nor, it seems, jarred Portuguese policymakers from their silent policy of disregard. This study shows how, in the doldrums of neglect, the crisis of Portuguese cinema grows ever deeper.

Die portugiesischen Politiker haben keine umfassende und stimmige Antwort auf die grundlegenden Umwälzungen der Film- und Fernsehindustrien, d.h. deren wachsende gegenseitige Abhängigkeit, gefunden. Bislang wurden sie nicht aus ihrer stummen Politik der Nichtbeachtung aufgerüttelt. Die Untersuchung zeigt, daß im Windschatten dieser Vernachlässigung der portugiesische Film immer tiefer in die Krise abrutscht. (UNübers.)

This article analyzes the representation of nature in Portuguese cinema from the silent era to contemporary productions. I argue that cinematic depictions of the environment reflect the socio-economic and political changes Portugal went through in the past century. Early films showcased natural beauty, together with local traditions, and created what I define as a "domesticated natural sublime." Estado Novo filmography portrayed nature as a godlike entity that could both be the source of adversity and a loving, nurturing mother and presented authority figures as instantiations of this powerful force. Salazarist films also praised the countryside to the detriment of city life, a dichotomous view of the environment that continued in movies from the democratic period. In more recent work, we witness the development of an ecological consciousness, as films meditate upon the relation between humanity and the environment in late modernity.

Epistolarity in cinema is commonly understood as a narrative device either fitting the so-called essay film, or resulting from filmic adaptation of literary works. A more nuanced understanding of the workings of this device is observed in films of disparate contemporary Portuguese filmmakers which adapt, rephrase and remediate letters. This article centres its attention on possible tendencies concerning epistolarity in this context, examining films that make use of the personal archive and epistolary voice, or that adapt letters to screen. It also examines filmic works that use the epistolary device to negotiate between emotional expression and historical materiality. Among others, this article discusses films such as Yama No Anata (Aya Koretzy, 2011), Correspondences (Rita Azevedo Gomes, 2016), Letters from War (Ivo M. Ferreira, 2016) and works directed by Pedro Costa and Miguel Gomes.

Review of: Portuguese Cinema (1960–2010): Consumption, Circulation and Commerce, André Rui Graça (2021)
Suffolk: Boydell & Brewer, 238 pp.,
ISBN 978-1-85566-343-5, h/bk, £70
ISBN 978-1-78744-803-2, e-book, £24.99

Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema. ; En se concentrant sur une période courte et libératrice de l'histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L'aire chronologique correspond donc aux années de la Révolution ...

Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema. ; En se concentrant sur une période courte et libératrice de l'histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L'aire chronologique correspond donc aux années de la Révolution ...

Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema. ; En se concentrant sur une période courte et libératrice de l'histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L'aire chronologique correspond donc aux années de la Révolution ...

Mestrado em Línguas, Literaturas e Culturas ; Na luta ideológica entre a ditadura e as forças revolucionárias, o cinema português tornou-se em um dos seus principais campos de batalha. Após décadas de rigorosa censura, o cinema português estava estagnado e condenado a repetir o mesmo estilo de filme. No início dos anos 60, jovens e ambiciosos cineastas procuraram transformar o cinema português e apresentar um olhar franco à sua sociedade, imbuíndo as suas narrativas com mensagens politicamente carregadas contra o estado em que o país se encontrava. A resposta do regime foi de continuar produzindo os mesmos filmes, enquanto os realizadores do Novo Cinema, encorajados pela sua nova linguagem cinematográfica, se esforçaram para serem ainda mais políticos, usando o "povo" e sua representação como uma arma contra o Estado Novo. ; In the ideological battle between dictatorship and forces of change, the Portuguese cinema became one of its main battlegrounds. Through decades of strict censorship, the Portuguese cinema had become stagnant, doomed to repeat the same sorts of films. In the early 1960s, young and ambitious filmmakers sought to change the Portuguese cinema and present a frank look at their society, imbuing their narratives with politically-charged messages against the state the country faced itself. The regime's answer was to keep producing the same films as it always had, while the filmmakers of the Novo Cinema, emboldened with their new cinematic language, strove to become even more political, using the 'people' and their representation as the weapon against the Estado Novo.

Abstract
Post-1974 literature and cinema have contributed to a reflection about the Colonial War and, more broadly, about Portuguese colonialism. Novels like António Lobo Antunes's South of Nowhere, Lídia Jorge's The Murmuring Coast, Isabela Figueiredo's Notebook of Colonial Memories, and Dulce Maria Cardoso's The Return, as well as films such as João Botelho's A Portuguese Goodbye, Teresa Villaverde's Coming of Age, António Pedro Vasconcelos's The Imortals, and Manoel de Oliveira's, Non, or the Vain Glory of Command, to name but a few, deal with the country's long colonial past, try to come to terms with the heritage of colonial violence and reflect upon Portugal's postcolonial identity. In this paper, I argue that this literary and cinematic production mirrors what I have identified as the four modes of being post-colonial in contemporary Portuguese culture: (1) Nostalgia with bad conscience; (2) Trauma; (3) Melancholia; (4) Trace.

At the heart of Portugal's Global Cinema: Industry, History and Culture—edited by Mariana Liz, published by I.B. Tauris in the series 'Tauris World Cinema', and totaling 283 pages— lies a (rather recent) tendency to look at other cinematic cartographies, in particular the socalled "cinema of small nations", as opposed to the more conventional, Hollywood-adjacent productions. Noticing the 'obvious gap in literature', 1 the editor sets out to explore 'the international meaning of contemporary Portuguese film' and, indeed, Liz, along with the other contributors, achieve more than that.2 The introduction begins with a broad overview of the last four decades of Portuguese cinema, in which the editor explores its national cinema within a global context and a transnational framework. As part of a growing interest in Portuguese cinema, Portugal's Global Cinema, written in English, is instrumental in moving towards a better understanding of the struggles, the context, and, at the same time, the possible solutions that national cinemas have adopted in order to survive. The volume achieves this by balancing the analysis of a more political and auteur cinema with more popular and mainstream productions, providing the reader with a wide range of topics. ; N/A

The popularity of Maria de Medeiros's Capitães de Abril [April Captains] (2000) has made it a significant reference point in perceptions and post-memory of the Portuguese revolution. This essay argues that the film presents the 25 April 1974 coup as a restitution of social justice predicated on the long-established notion of Portuguese brandos costumes [gentle customs]. By foregrounding both the April captains' commitment to non-violent regime change, and their attitudes of humility, empathy and good humour, the film opposes them to an authoritarian regime whose arrogant, stubborn and brutal defenders repeatedly traduce 'traditional' national values. The endemic nature of brandos costumes is meanwhile implied by representing army conscripts and the common people as ill-suited to military engagement, but strongly disposed to 'feminine' values of love, solidarity, and compassion. Ultimately, Capitães' appropriation of this national myth revises the gender politics of commemorations of the April Revolution, but reinforces paternalistic conceptions of Portuguese social organisation.

Texto de apresentação do filme "O Sangue", primeira obra do realizador português Pedro Costa. Argumenta-se que esta obra, muito diferente do resto da filmografia deste autor, obedece a uma narrativa específica, onde as personagens estão sempre presas ao passado. Internationally acclaimed for his more recent films, Portuguese filmmaker Pedro Costa has been making previously unheralded work since the late 1980s. After finishing his studies at Lisbon's School of Cinema, Costa worked as an assistant director to a number of Portuguese filmmakers. His first film was a short – called Cartas a Júlia/Letters to Julia – made for a Portuguese National Television (RTP) series and released in 1988. Just a year later he finished his first feature film, O Sangue/The Blood. The 1980s were, in Portugal, a time when the regular production of films, supported by the Portuguese Cinema Institute (a governmental institution for the promotion of cinema), really began. These were times when João Bènard da Costa, a Portuguese cinema theorist (and director of the Portuguese Cinémathèque), begun to talk about a "Portuguese Cinema School", a concept that relates to and describes a particular way of making films, either in relation to a specific view of production or in relation to specific themes. This group was related to the Portuguese nouvelle vague, a movement that radically changed Portuguese cinema in the 1960s. Called "Cinema Novo", this movement included such filmmakers as Paulo Rocha, Fernando Lopes, João César Monteiro and António-Pedro Vasconcelos. The so-called "Portuguese Cinema School" also included a wide spectrum of directors such as António Reis, João Mário Grilo and João Botelho. Manoel de Oliveira, of course, has to be accredited as the master of the various generations, influencing all of them. In the context of the economic growth of the 80s – Portugal joined the European Union in 1986 – the Portuguese producer Paulo Branco started to support (with money from the Portuguese Cinema Institute) a new generation of Portuguese directors such as Botelho, João Canijo and Pedro Costa. It opened the door for a new generation who had its own problems and strategies.