Abstract

The present essay examines how contemporary Portuguese cinema critically dialogues with the historical representations upon which mythical images of Portugal have been founded. Analyzing films by Manoel de Oliveira, Pedro Costa, and Miguel Gomes, the essay highlights how these filmmakers problematize, within a postcolonial perspective, the political sense of understanding modernity as a crisis of identity.

Highlights

  • The present essay examines how contemporary Portuguese cinema critically dialogues with the historical representations upon which mythical images of Portugal have been founded

  • Lourenço argues that the time has come for Portugal to exist and to see itself in a more objective way. This argument has not fallen on deaf ears; it is noteworthy that some contemporary Portuguese filmmakers seek to achieve this objective stance precisely, if paradoxically, by means of a subjectivization of history. This is the case of the three films I consider in the present essay: Manoel de Oliveira’s Non, ou a vã glória de mandar (1990); Miguel Gomes’s Tabu (2012); and Pedro Costa’s Cavalo dinheiro (2014)

  • In Non and Tabu, one finds a ghost story haunted by the ghosts of history such as those which Jacques Rancière identifies in Costa’s Cavalo dinheiro

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Summary

Introduction

The present essay examines how contemporary Portuguese cinema critically dialogues with the historical representations upon which mythical images of Portugal have been founded. This is the case of the three films I consider in the present essay: Manoel de Oliveira’s Non, ou a vã glória de mandar (1990); Miguel Gomes’s Tabu (2012); and Pedro Costa’s Cavalo dinheiro (2014).

Results
Conclusion

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