Abstract
This article considers how Portuguese cinema questions the possibility of any cinematic representation of national identity. By exposing the subjective mechanisms and the artistic construction of Manoel de Oliveira’s Cristóvão Colombo, o enigma (2007), I argue that the film serves as a portrait despite being an affective landscape—what John Caspar Lavater has referred to as a physiognomic. Oliveira achieves this through the atemporal depiction of his own experience of the facts and fictions of Portuguese history. I also examine the Wagnerian concept of Gesamtkunstwerk ("total art") along with more recent conceptions of "impure cinema."
Highlights
This article considers how Portuguese cinema questions the possibility of any cinematic representation of national identity
By exposing the subjective mechanisms and the artistic construction of Manoel de Oliveira’s Cristóvão Colombo, o enigma (2007), I argue that the film serves as a portrait despite being an affective landscape—what John Caspar Lavater has referred to as a physiognomic
Oliveira achieves this through the atemporal depiction of his own experience of the facts and fictions of Portuguese history
Summary
This article considers how Portuguese cinema questions the possibility of any cinematic representation of national identity.
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