Portugal's Global Cinema : Industry, History and Culture.
- 1st ed.
- 1 online resource (307 pages)
- World Cinema Series .
- World Cinema Series .
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.