Abstract
In this paper, we are interested in thinking about the way in which Afro-descendent portuguese filmmakers emerge in the field of Portuguese cinema, proposing new dynamics of production and circulation of images, as well as themes related to the anticolonial issue, transposing the place of representation to self-presentation. The question of the representation of black people in Portuguese cinema takes on two central aspects of this debate in the 21st century: the need for effective participation in the field of cinematographic work, that is, producing films and occupying technical positions; and, above all, redefining the subjectivities, memories and affectivities of the black people in Portuguese society from the perspective of black people. We will analyze, in this article, the film O canto de Ossobo (2017) by Silas Tiny.
Highlights
In this paper, we are interested in thinking about the way in which Afro-descendent portuguese filmmakers emerge in the field of Portuguese cinema, proposing new dynamics of production and circulation of images, as well as themes related to the anticolonial issue, transposing the place of representation to selfpresentation
De forma ampla, define-se como cinema negro uma postura conceitual para expressar a diferença de uma nova posição sociocultural do afrodescendente no sentido de construir uma imagem afirmativa do povo negro e de sua cultura
A imagem em ruína do hospital é uma imagem-síntese do processo de busca, de reflexão, do método investigativo autoetnográfico e também de filmagem, esgarçando completamente e em definitivo as fronteiras entre sujeito-objeto, pessoal/coletivo, memória/história: Uma das minhas irmãs nasceu neste hospital em 1980, nesta altura tinham se passado cinco anos da independência de São Tomé
Summary
We are interested in thinking about the way in which Afro-descendent portuguese filmmakers emerge in the field of Portuguese cinema, proposing new dynamics of production and circulation of images, as well as themes related to the anticolonial issue, transposing the place of representation to selfpresentation. Tal situação irrompe no cinema português tardiamente, ou melhor, muito recentemente a partir dos anos 2000, quando, a partir da segunda ou terceira geração de portugueses afrodescendentes radicados em Portugal – a maioria com formação escolar europeia - uma nova produção cinematográfica passa a ser produzida, dessa vez, por realizadores que colocam em crise a identidade nacional e a memória do colonialismo.
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