Abstract
THE OXYMORON is study for a 3rd degree Portuguese movie based in real facts. How to explain pedagogically the narrative, morphology and administrative limitations that restrain the production of image/movement objects in Portugal in the last 70 years.Results, discontinuities and formal aestheticization of the Critical/Admiration v. Public/Disgust interaction related with the cinematographic production supported by the Portuguese state.As an analytical study of the sociological, sexual, political, aesthetic and cultural information of Portuguese spirit manifestations in the images/movement socialized by film production in Portugal, it points out the framework of the unique cultural ability in the world to suspend time and postpone consumption with a product/image of high moral suffering that explodes extravagantly in contradictions.THE OXYMORON became an investigation for a film/essay about how the language of Portuguese cinema brought it closer to the effect that paintings produced in the viewer before the appearance of cinema. Using a montage of fragments of Portuguese films, recreation of scenes, re-enactments of movie stories and author perspective account, the film informs us about this offbeat filmography characteristics that became (along with architecture) the main Portuguese cultural export in the 20th century.
Highlights
Results, discontinuities and formal aestheticization of the Critical/Admiration v
THE OXYMORON became an investigation for a film/essay about how the language of Portuguese cinema brought it closer to the effect that paintings produced in the viewer before the appearance of cinema
- Noite Escura (2003), João Canijo - A Mulher Que Acreditava Ser Presidente dos EUA (2003), João Botelho - Os Imortais (2003), António Pedro de Vasconcelos - Kiss Me (2004), António Cunha Telles - Maria e as Outras (2004), José de Sá Caetano - Adriana (2004), Margarida Gil - Odete (2005), João Pedro Rodrigues - O Crime do Padre Amaro (2005), Carlos Coelho da Silva - Transe (2006), Teresa Vilaverde - 98 Octanas (2006), Fernando Lopes - Juventude em Marcha (2006), Pedro Costa - Lobos (2007), José Nascimento - O Mistério da Estrada de Sintra (2007), Jorge Paixão da Costa - Mal Nascida (2007), João Canijo - Floripes (2007), Miguel Mendes - Call Girl (2007), António Pedro de Vasconcelos - Suicídio Encomendado (2007), Artur Serra Araújo - A Corte do Norte (2008), João Botelho - Aquele Querido Mês de Agosto (2008), Miguel Gomes - Duas Mulheres (2009), João Mário Grilo - Cinerama (2009), Inês Oliveira - A Religiosa Portuguesa (2009), Eugéne Green - Águas Mil (2009), Ivo Ferreira - Second Life (2009), Alexandre Valente - Singularidades de Uma Rapariga Loira (2009), Manoel de Oliveira - A Espada e a Rosa (2010), João Nicolau - Quero Ser Uma Estrela (2010), José Carlos de Oliveira - Estranho Caso de Angélica (2010), Manoel de Oliveira - Assalto ao Santa Maria (2010), Francisco Manso
Summary
Discontinuities and formal aestheticization of the Critical/Admiration v. – O “cinema português” tem atores que não representam porque estão prisioneiros do filme.
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