Abstract
The novel Domingo à Tarde, written by the Portuguese author Fernando Namora, was adapted by António de Macedo to a film, centred on the life of a doctor that sees death in front of him, on the face of a patient and by this incarnation of death itself, thinks about the human condition in a journey to find himself. The novel and the film are connected by this character and his voyage, a metaphor for us all, and gives the spectator a portrait of the Portuguese “New Cinema”. Fernando Namora himself would integrate the dialogues between literature and cinema in this “Cinema Novo”, namely with the adaptation of Domingo à Tarde. This film reveals the aesthetic proposals that emerged with the discussions about cinema in Portugal and signify the technical and aesthetic consecration of a cinema that has been wanted since the 1950s, but that the economic conditions of film production in Portugal have not allowed happening.
 
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Highlights
The issue of adaptation continues to constitute a complex labyrinth of paradigms and paradoxes
When we look at Fernando Namora's adaptation of Domingo à Tarde, these and other issues emerge and frame semiotic transposition
Fernando Namora himself would integrate the dialogues between literature and cinema in this “Cinema Novo”, namely with the adaptation of Domingo à Tarde
Summary
The issue of adaptation continues to constitute a complex labyrinth of paradigms and paradoxes. We ask what the status of cinema is, especially when an analysis of a film is initiated in a logic of dependence on a literary source (Grilo, 1995-1996). With this stance, we find a methodological "sin" with a strong historical tradition in the analysis of the relationship between literature and cinema: placing the film in explicit dependence on the literary text. We find a methodological "sin" with a strong historical tradition in the analysis of the relationship between literature and cinema: placing the film in explicit dependence on the literary text This perspective contains a preambular addiction that affects the development of any analysis. The lack of value of one universe in relation to another only allows a reflection of valorization/devaluation concerning the starting point, preventing an autonomous characterization of each semiotic system
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