Abstract
The officially hinted yet unofficial discourse of “Macau-Was-Never-A-Colony” challenges postcolonial studies all hiddenly and mute(d)ly. Its rare presence in the non-Sino-Luso-academic world explains its legitimate absence. The multi-centenary Portuguese presence in or colonization of Macau marked only its attachedness to the verges of Empires. From its transitional period in the last stage of the Portuguese Empire to its self-governance under the much larger Chinese context, Macau, or better say, its name and its appearance, was no more than a short-term machine of nostalgia. In this background, the emergence of Macau cinema from the last colonial times until its present contributes to a discourse towards the production of an identity, whose future is still unknown. The proposed essay questions precisely this role of Macau cinema in this process of (re)nostalgization in the coming decades until 2049, the end of a promise of two powers that decided its 50-year long would-be future, two-fifths of which has already passed.
Highlights
The officially hinted yet unofficial discourse of “Macau-Was-Never-A-Colony” challenges postcolonial studies all hiddenly and mute(d)ly
Três anos antes de uma estreita colaboração com Season Lao, artista de Macau, na produção de documentários sobre Macau, fiz várias traduções do chinês mandarim-cantonense para português para os seus projectos, incluindo um vídeo que foi exibido em 2006 numa das mais antigas associações de trabalho audiovisual, “Cut”, no evento “Tales, Images, Photo and Your Mouth”
Não abordo neste texto o conteúdo das diversas discussões ao redor do filme, mas refiro somente o que mencionei no texto principal do ensaio: este filme foi o trabalho final do mestrado em antropologia visual enquanto, na minha compreensão, uma formação ocidental com o fim de formar antigos colonizados ao serviço da descolonização pelo Ocidente
Summary
The officially hinted yet unofficial discourse of “Macau-Was-Never-A-Colony” challenges postcolonial studies all hiddenly and mute(d)ly. Neste contexto maior, a auto-representação audiovisual, como muitas outras formas de representação, acontece de forma muito semelhante ao que aconteceu com a criação da própria Região Administrativa Especial de Macau: ouve-se sublinhar o facto de que agora as Histórias são contadas pelos seus próprios contadores de Histórias.
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