Film, Visual Arts and the Fall of the Portuguese Empire
Edited By Maria do Carmo Piçarra and Teresa Castro
The fortieth anniversary of the independence of the African countries colonized by Portugal presents a valuable opportunity to reassess how colonialism has been «imagined» through the medium of the moving image. The essays collected in this volume investigate Portuguese colonialism and its filmic and audio-visual imaginaries both during and after the Estado Novo regime, examining political propaganda films shot during the liberation wars and exploring the questions and debates these generate. The book also highlights common aspects in the emergence of a national cinema in Angola, Mozambique and Guinea-Bissau. By reanimating (and decolonizing) the archive, it represents an important contribution to Portuguese colonial history, as well as to the history of cinema and the visual arts.
Part III Moving Images, Post-Colonial Representationsand the Archive
Part III Moving Images, Post-Colonial Representations and the Archive José Manuel Costa 8 Colonial Collection of the Portuguese Film Archive: Shot, Reverse Shot, Off-Screen Often in these meetings (the international conference Liberation Struggles, the Portuguese ‘End of Empire’ and the Birth (through Images) of the African Nations, held on 27 and 28 January 2016 at the Centre for Film Aesthetics and Cultures (CFAC), the University of Reading, and at King’s College, London, Camões Centre for Portuguese Language and Culture) the archi- vist plays the role of the one who reminds the audience of a series of dif- ficult questions, such as material or legal constraints. Also, more often than not, the archivist is not even present. So, first of all, I appreciate the fact that you did invite me, and hope that you will at least acknowledge that the fact that I welcomed the challenge is a sign that we do pay atten- tion to the matter in question. In fact, we regard it as nothing short of a key issue for the Cinemateca Portuguesa (CP), that is, the Portuguese Film Archive, as indeed for many other film archives and film museums nowadays. I will attempt to address a set of issues related to our archive’s general policy and, in the process, to offer you some specific information on our ‘colonial collection’. Let me begin by addressing a few general topics. I will detail some of the features of our film collections as a whole and recall how they...
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