A study about portuguese and macanese cinemas : differences and similarities

• Autor(a) principal: Yeung, Cheng Man
• Data de Publicação: 2016
• Tipo de documento: Dissertação
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10400.14/21266
• topic: Portuguese cinema; Macanese cinema; Cinematography; Narrative; Genres; Domínio/Área Científica::Humanidades::Artes

The merging of Chinese and Portuguese cultures is the special element for the history of Macau. This dissertation analyzed five Portuguese movies and five Macanese movies from 2008 to 2016 in order to find out the similarities and differences of both cinemas. We studied according to their cinematography, narrative structure and genre. This study investigated the cinematography in terms of typology of shots, camera movements and camera angles. For the analysis of narrative structure, we used the theory of Genette, which is about the time relations between story-and-discourse time. The empiricist method of Janet Staiger was applied to study their film genres. This dissertation examined Arena (Joao Salaviza 2009), Sangue do Meu Sangue (Joao Canijo 2011), Estrada de Palha (Rodrigo Areias 2012), Rafa (Joao Salaviza 2012), Os Gatos não Têm Vertigens (Antonio Pedro Vasconcelos 2014) Crossroad (Keo Lou 2014), Paper Plane (Vincent Hoi 2008), June (Fernando Eloy 2011), Ina (Antonio Caetano de Faria 2015) and Timing (Emily Chan 2015). The conclusion of this study showed that both cinemas used objective camera placement and one protagonist in linear structure; on the other hand, the Portuguese cinema focuses in exploring social issues while the Macanese cinema talks about the city with varied genres.