Abstract
In the present article, I consider five different relations between character and landscape/setting in the context of Portuguese cinema produced between the 1960s and the 2000s. To achieve this, I examine ten Portuguese films produced between 1963 and 2009. Through a close analysis of these ten films, I show how landscape serves to project, within a particular current of Portuguese cinema, both social and historical grounds into an aesthetic dimension.
Highlights
In the present article, I consider five different relations between character and landscape/setting in the context of Portuguese cinema produced between the 1960s and the 2000s
Through a close analysis of these ten films, I show how landscape serves to project, within a particular current of Portuguese cinema, both social and historical grounds into an aesthetic dimension
“A paisagem no cinema: imagens para pensar o tempo através do espaço.” Aniki: Revista Portuguesa da Imagem em Movimento, vol 4, no. 1, 2017, pp. 55-63
Summary
O conceito de paisagem pressupõe um sujeito que habita e/ou observa um determinado território geográfico. Segundo Sapeta Dias, o enquadramento, a composição e a perspetiva são inerentes ao conceito de paisagem, assim como a noção de recorte espacial, sendo que nessa parcela de espaço se intui a ideia de infinito a ser contemplado. Martin Lefebvre distingue duas formas de atividade por parte do espectador na experiência do visionamento: o modo narrativo e o modo “espetacular” (28). Este modo “espetacular” alterna com o modo narrativo no decurso do visionamento e, quando o foco deixa de estar na ação que dinamiza a narrativa, surge então a contemplação: When I contemplate a piece of film, I stop following the story for a moment, even if the narrative does not completely disappear from my consciousness—to which I may add that is precisely because the narrative does not disappear from my consciousness that I can pick it up again. O cinema português recorre a mecanismos que potenciam a alteração do olhar do espectador para o modo “espetacular,” estetizante, para além de desestabilizarem a linearidade e continuidade narrativas
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