Portugal’s Global Cinema: Industry, History and Culture

Cover
Author biography
Series
Title
Copyright
Dedication
Contents
List of Illustrations
Acknowledgements
List of Contributors
Introduction: Framing the Global Appeal of Contemporary Portuguese Cinema
	Portuguese cinema on the international stage
	Cinema of small nations: between globalization and internationalization
	Key issues in contemporary Portuguese cinema
1 Filming Narratives Becoming Events: Documentary and the ‘Emplotments’ 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 cinema
	Conclusion: the section which isn’t there
3 Political Oliveira
	Legacy of the empire
4 Portugal, Europe and the World: Geopolitics and the Human Condition in Manoel de Oliveira’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 stereotypes
	Music, 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 Costa’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 Ruiz’s Portugal: Territory, Littoral, City and Memory Bridge
	Portugal 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 Woman’s Burden in Pedro Costa’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 Pedro’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
	The role of co-productions in Brazilian and Portuguese cinema
	Conclusion
Bibliography
Index