Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/1822/66511 |
Resumo: | This paper aims to offer a general perspective ofthe presence (or, rather, absence) of female filmmakers during the Estado Novoperiod. If, on the one hand, the situation of the Portuguese filmmakers must be framed within the context of the regime’s ideology with regard to women (Cova &Pinto 2002), on the other hand, we cannot ignore the wider context of the presence/absence of women filmmakers in cinema during the twentieth century. Thus, the issue will be framed within previous work devoted to the question of women and film in a wider context (cf. Butler 2002; Lauzen2019; White 2017); as regards the Portuguese case, the study takes as a starting point work done by Castro (2000) and Pereira (2016). We also claimthat this invisibility, as regards the New State regime, has been counterbalanced by the appearance in recent years of a number of documentaries made by women who arerecovering thememory of the regime. Finally, the article will focus ona film by Swedish filmmaker Solveig Nordlund, titled Mitt Andra Land[My Other Country] (2014), arguing that it establishes a bridge between individual memory and collective memory byinvoking the personal experience of thefilmmaker,who starts working in Portugal in the 1970s. |
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Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memoryMulheres cineastas portuguesas e o Estado Novo: da invisibilidade à memória culturalWomen filmmakersPortugalEstado NovoSolveig NordlundMemoryMulheres cineastasMemóriaHumanidades::Línguas e LiteraturasThis paper aims to offer a general perspective ofthe presence (or, rather, absence) of female filmmakers during the Estado Novoperiod. If, on the one hand, the situation of the Portuguese filmmakers must be framed within the context of the regime’s ideology with regard to women (Cova &Pinto 2002), on the other hand, we cannot ignore the wider context of the presence/absence of women filmmakers in cinema during the twentieth century. Thus, the issue will be framed within previous work devoted to the question of women and film in a wider context (cf. Butler 2002; Lauzen2019; White 2017); as regards the Portuguese case, the study takes as a starting point work done by Castro (2000) and Pereira (2016). We also claimthat this invisibility, as regards the New State regime, has been counterbalanced by the appearance in recent years of a number of documentaries made by women who arerecovering thememory of the regime. Finally, the article will focus ona film by Swedish filmmaker Solveig Nordlund, titled Mitt Andra Land[My Other Country] (2014), arguing that it establishes a bridge between individual memory and collective memory byinvoking the personal experience of thefilmmaker,who starts working in Portugal in the 1970s.Este artigo tem como objetivo oferecer uma perspetiva geral sobre a presença (ou melhor, a ausência) de cineastas mulheres durante o período do Estado Novo. Se, por um lado, a situação das cineastas portuguesas deve ser enquadrada no contexto da ideologia do regime em relação às mulheres (Cova &Pinto 2002), por outro, não podemos ignorar o contexto mais amplo da presença/ ausência de mulheres cineastas no cinema durante o século XX. Assim, a questão será enquadrada em trabalhos anteriores dedicados à questão das mulheres e do cinema num contexto mais amplo (cf. Butler 2002; Lauzen 2019; White 2017); no caso português, o estudo parte do trabalho de Castro (2000) e Pereira (2016). Afirmamos tambémque essa invisibilidade, no que diz respeito ao regime do EstadoNovo, foi contrabalançada pelo aparecimento nos últimos anos de vários documentários feitos por mulheres que estão a recuperara memória doregime. Por fim, o artigo focar-se-ánofilme da cineasta suecaSolveig Nordlund, intitulado Mitt Andra Land[O Meu Outro País](2014), argumentando que este estabelece uma ponte entre a memória individual e a memória coletiva, invocando a experiência pessoal da realizadora e do seutrabalho emPortugal desde a década de 1970.PTDC/ART-OUT/28051/2017. Womanart. Women, arts and dictatortoship - Portugal, Brazil and Portuguese speaking countriesUniversidade do Minho. Centro de Estudos Humanísticos (CEHUM)Universidade do MinhoPereira, Margarida Esteves2020-012020-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/1822/66511engPereira, M. E. (2020). Portuguese Women Filmmakers and the Estado Novo. From Invisibility to Cultural Memory. Diacrítica, 34(2), 62-76. https://doi.org/10.21814/diacritica.5830870-89672183-917410.21814/diacritica.583http://diacritica.ilch.uminho.pt/index.php/dia/article/view/583info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-07-21T12:27:58Zoai:repositorium.sdum.uminho.pt:1822/66511Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T19:22:41.235730Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory Mulheres cineastas portuguesas e o Estado Novo: da invisibilidade à memória cultural |
title |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory |
spellingShingle |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory Pereira, Margarida Esteves Women filmmakers Portugal Estado Novo Solveig Nordlund Memory Mulheres cineastas Memória Humanidades::Línguas e Literaturas |
title_short |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory |
title_full |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory |
title_fullStr |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory |
title_full_unstemmed |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory |
title_sort |
Portuguese women filmmakers and the Estado Novo: from invisibility to cultural memory |
author |
Pereira, Margarida Esteves |
author_facet |
Pereira, Margarida Esteves |
author_role |
author |
dc.contributor.none.fl_str_mv |
Universidade do Minho |
dc.contributor.author.fl_str_mv |
Pereira, Margarida Esteves |
dc.subject.por.fl_str_mv |
Women filmmakers Portugal Estado Novo Solveig Nordlund Memory Mulheres cineastas Memória Humanidades::Línguas e Literaturas |
topic |
Women filmmakers Portugal Estado Novo Solveig Nordlund Memory Mulheres cineastas Memória Humanidades::Línguas e Literaturas |
description |
This paper aims to offer a general perspective ofthe presence (or, rather, absence) of female filmmakers during the Estado Novoperiod. If, on the one hand, the situation of the Portuguese filmmakers must be framed within the context of the regime’s ideology with regard to women (Cova &Pinto 2002), on the other hand, we cannot ignore the wider context of the presence/absence of women filmmakers in cinema during the twentieth century. Thus, the issue will be framed within previous work devoted to the question of women and film in a wider context (cf. Butler 2002; Lauzen2019; White 2017); as regards the Portuguese case, the study takes as a starting point work done by Castro (2000) and Pereira (2016). We also claimthat this invisibility, as regards the New State regime, has been counterbalanced by the appearance in recent years of a number of documentaries made by women who arerecovering thememory of the regime. Finally, the article will focus ona film by Swedish filmmaker Solveig Nordlund, titled Mitt Andra Land[My Other Country] (2014), arguing that it establishes a bridge between individual memory and collective memory byinvoking the personal experience of thefilmmaker,who starts working in Portugal in the 1970s. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-01 2020-01-01T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/1822/66511 |
url |
http://hdl.handle.net/1822/66511 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
Pereira, M. E. (2020). Portuguese Women Filmmakers and the Estado Novo. From Invisibility to Cultural Memory. Diacrítica, 34(2), 62-76. https://doi.org/10.21814/diacritica.583 0870-8967 2183-9174 10.21814/diacritica.583 http://diacritica.ilch.uminho.pt/index.php/dia/article/view/583 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade do Minho. Centro de Estudos Humanísticos (CEHUM) |
publisher.none.fl_str_mv |
Universidade do Minho. Centro de Estudos Humanísticos (CEHUM) |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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