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Portugal's Global Cinema : Industry, History and Culture.
Portuguese cinema has become increasingly prominent on the international film festival circuit and yet can still be described as a 'small nation cinema'. From box-office hit 'La Cage Doré' to the prestige of directors Manúel de Oliveira, Pedro Costa and Miguel Gomes, aspects of...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
London :
I.B. Tauris,
2017.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Author bio; Series information; Title page; Copyright information; Dedication; Table of contents; Illustrations; Acknowledgements; Contributors; Introduction: Framing the Global Appeal of Contemporary Portuguese Cinema; 1 Filming Narratives Becoming Events: Documentary and the â#x80;#x98;Emplotmentsâ#x80;#x99; of the Carnation Revolution; Narratives of the Carnation Revolution: an introduction; Scenes from the class struggle in Portugal; Revolution as narrative; 2 Our Beloved Month of August: Between the Filming of the Real and the Reality of Filming; The reality of filming; Filming of the real.
- Just so: love for reality, desire for cinemaConclusion: the section which isnâ#x80;#x99;t there; 3 Political Oliveira; Legacy of the empire; 4 Portugal, Europe and the World: Geopolitics and the Human Condition in Manoel de Oliveiraâ#x80;#x99;s Films; Regional/National; Supranational/Transnational/Global; Universal/Local; Conclusion; 5 Amália (2008): Stories of a Singer and Tales of a National Cinema; Amália and fado biographies; Between Hollywood melodrama and national Portuguese cinema; 6 La Cage Dorée/The Gilded Cage: A Franco-Portuguese Comedy of Integration; French comedy of integration.
- Negotiating Portuguese stereotypesMusic, nostalgia, modernity; Conclusion; 7 Cinema and the City in European Portugal; The complex relationship between Portugal and Europe; Lisbon Story and European postcards; Portugal, Europe and heritage in Porto of My Childhood; Conclusion; 8 Contextualizing Pedro Costaâ#x80;#x99;s Digital Filmmaking; Digital cinema as a (low-budget) production paradigm; Filmmaking at the interstices; Authorship renegotiated; Conclusion; 9 Broken Links: The Cinema of Teresa Villaverde; The holy family; Forms and transformations; Figures and feelings.
- 10 Mysteries of Raúl Ruizâ#x80;#x99;s Portugal: Territory, Littoral, City and Memory BridgePortugal as Ruizian territory; Three Crowns of a Sailor (1982), City of Pirates (1983) and impossible cartographies; Mysteries of Lisbon and mysteries of enchantment; 11 White Faces/Black Masks: The White Womanâ#x80;#x99;s Burden in Pedro Costaâ#x80;#x99;s Down to Earth; Remaking Hollywood? Volcanoes, zombies, crazy women; Neo-colonial gaze, desire and sexuality; Female embodiment of male masochism: between science and sexuality; Conclusion: a dystopian Island of Love?
- 12 Light Drops: Portugal Critically Reviewing the Colonial Past?Light Drops as post-colonial film; Rui Pedroâ#x80;#x99;s two families; Post-colonialism and nostalgia?; 13 Colonialism as Fantastic Realism in Tabu; Historical detours; The non-story and the index; Fantasy as truth procedure; 14 Luso-Brazilian Co-Productions: Rescue and Expansion; Globalization and the national cinemas of Brazil and Portugal; Role of co-productions in Brazilian and Portuguese cinema; Conclusion; Bibliography; Index.