Portuguese Film, 1930-1960: The Staging of the New State Regime
De (autor) Dr. Patricia Vieiraen Limba Engleză Paperback – 23 Apr 2015
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Specificații
ISBN-13: 9781501307287
ISBN-10: 1501307282
Pagini: 272
Ilustrații: 20
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.37 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării: New York, United States
ISBN-10: 1501307282
Pagini: 272
Ilustrații: 20
Dimensiuni: 152 x 229 x 15 mm
Greutate: 0.37 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării: New York, United States
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Caracteristici
Provides
critical
and
in-depth
analysis
into
cinema
history
of
the
Portuguese
totalitarian
state
(1930-1960)
Notă biografică
Patricia
Vieira
is
Assistant
Professor
in
the
Department
of
Spanish
and
Portuguese,
in
the
Comparative
Literature
Program,
and
in
the
Film
and
Media
Studies
Program
of
Georgetown
University,
Washington,
USA.
Cuprins
AcknowledgementsIntroduction:
Cinema
in
the
New
State
1.
Propaganda
in
the
New
State:
The
May
Revolution
(A
Revolução
de
Maio)1.1.
Propaganda
in
Portuguese
Cinema1.2.
Salazar's
Truth
as
Ideology1.3.
The
Primacy
of
Art:
António
Ferro's
Politics
of
the
Spirit1.4.
The
Staging
of
the
Leader2.
Poets
on
the
Silver
Screen:
Bocage,
Camões,
and
the
Heroes
of
the
Regime2.1.
Literature
and
Film
in
the
Politics
of
the
Spirit2.2.
The
Heroes
of
the
New
State2.3.
Against
Political
Inconstancy:
The
Hero
as
a
Serious
Man3.
Rural
Life
in
Cinema:
In
Defense
of
a
Natural
Society2.1.
Regional
and
Folkloric
Films2.2.
A
Natural
Cinema2.3.
The
Countryside
and
the
City2.4.
Capitalism,
Communism,
Corporatism4.
The
Miracle
of
Salazarism:
Fátima,
Land
of
Faith
(Fátima,
Terra
de
Fé)4.1.
Fátima
in
the
New
State4.2.
Reason,
Faith
and
Politics
in
Film4.3.
Balancing
Reason
and
Religion4.4.
Beyond
Reason
and
Faith:
The
Danger
of
Nihilism5.
Gender
Stereotypes
in
New
State
Cinema5.1.
Women
in
New
State
Films5.2.
Singing
as
a
Transgression5.3.
Fado,
Fatalism
and
the
Portuguese
Femme
Fatale6.
The
Empire
as
Fetish:
Spell
of
the
Empire
(Feitiço
do
Império)6.1.
Portugal
and
its
Colonies6.2.
The
Magic
of
Africa6.3.
The
Empire
as
a
Fetish
6.4.
Spell
of
the
Empire
and
Colonial
Propaganda7.
The
Spirit
of
the
Empire
in
Chaimite7.1.
Spirituality
and
Materiality
in
Salazarism7.2.
The
Spirit
of
Portuguese
Colonization7.3.
The
Politics
of
the
Spirit
in
ChaimiteEpilogue:
New
State
Cinema
TodayBibliographyIndex
Recenzii
This
book
is
a
major
achievement,
but
it
is
difficult.
Most
readers
will
be
intimidated:
they
will
not
know
the
films;
the
films
are
not
very
good
('too
heavily
invested
in
disseminating
the
values
of
the
regime');
and
few
readers
have
the
history
of
Portugal
at
their
fingertips.
Vieira
(Georgetown)
puts
Salazar
in
the
Mussolini/Hitler
category.
Hideous
aspects
of
cruel
tyranny
mark
every
regime-approved
film.
Salazar,
the
ruler
of
Portugal's
so-called
New
State,
wanted
to
combat
lies,
error,
slander,
and
ignorance.
See
the
film
A
Revolução
de
Maio,
or
The
May
Revolution
(1937).
He
believed
that
good
rural
life,
agriculture,
is
humanity's
call
(A
Canção
de
Terra,
or
The
Song
from
the
Earth,
1938).
Virtuous
women
(i.e.,
women
obedient
to
men)
are
the
foundation
of
society.
The
Portuguese
are
spiritual
(Fátima
Terra
de
Fé,
Fatima,
Land
of
Faith,
1943).
What
about
colonies?They
are
necessary,
democratic,
and
Christian
(Feitiço
do
Império,
Spell
of
Empire,
1940).
Colonizing
is
spiritual,
protective,
civilizing
(Chaimite,
1953).
The
best
supplement
to
this
intensity
study
is
not
a
history
of
Portuguese
movies,
but
a
consideration
of
propaganda,
like
Toby
Clark's
Art
and
Propaganda
in
the
Twentieth
Century:
The
Political
Image
in
the
Age
of
Mass
Culture
(1997).
Summing
Up:
Highly
recommended.
Graduate
students,
researchers,
faculty.--
With an interesting sociological approach, Vieira intelligently applies the works of Kracauer, Freud and Weber to the study of a basic, yet relatively unknown, aspect of Salazar's regime: propaganda ... A concise and well-researched text.
This extremely well-researched book gives the reader, for the first time, a thorough understanding of how the ideology of the New State pervaded, in varying degrees, three decades of Portuguese film production. Patricia Vieira deserves applause for the rigour and balance of her approach, but also for her unflinching commitment to a political cause.
This meticulously-researched and well-written book represents a major contribution to Portuguese film historiography. Drawing from a broad range of official documents, critical reviews, and a diverse array of films - ranging from comedy and folkloric films to overt propaganda - it offers a theoretically sophisticated, in-depth analysis of the relationship between cinema and the fascist New State in the period between 1930 and 1960 as well as a model for the discussion of film and politics.
Salazar's New State and his nationalistic and imperialistic 'Portuguese-style fascism' figure heavily in Portuguese cinema from the 1930s to the 1950s. In her fascinating book, Vieira brings this staging into sharper focus and provides us with a valuable new contribution to the field.
With an interesting sociological approach, Vieira intelligently applies the works of Kracauer, Freud and Weber to the study of a basic, yet relatively unknown, aspect of Salazar's regime: propaganda ... A concise and well-researched text.
This extremely well-researched book gives the reader, for the first time, a thorough understanding of how the ideology of the New State pervaded, in varying degrees, three decades of Portuguese film production. Patricia Vieira deserves applause for the rigour and balance of her approach, but also for her unflinching commitment to a political cause.
This meticulously-researched and well-written book represents a major contribution to Portuguese film historiography. Drawing from a broad range of official documents, critical reviews, and a diverse array of films - ranging from comedy and folkloric films to overt propaganda - it offers a theoretically sophisticated, in-depth analysis of the relationship between cinema and the fascist New State in the period between 1930 and 1960 as well as a model for the discussion of film and politics.
Salazar's New State and his nationalistic and imperialistic 'Portuguese-style fascism' figure heavily in Portuguese cinema from the 1930s to the 1950s. In her fascinating book, Vieira brings this staging into sharper focus and provides us with a valuable new contribution to the field.