Angola: (Re-)Imaginar o Nascimento de uma Nação no Cinema Militante

Abstract

The present article examines the use of cinema as an instrument of national liberation in colonial Angola. After contextualizing the use of cinema by independence movements in Portugal's former colonies, I question first whether the activities of cineclubes in Angola contributed to the development of militant films. I then explore whether the fact that Angola's independence struggle had early on been the subject of filmed international reportage was a determining factor in the use of film as an instrument of struggle, even before the publication of Fernando Solanas e Octavio Getino's "Towards a Third Cinema" (1969). Finally, I focus on the use of cinema by the MPLA, analyzing Sarah Maldoror's cinematic adaptation of José Luandino Vieira's narratives of militance and colonial incarceration.São escassos os estudos sobre como as lutas de libertação foram representadas nas imagens em movimento. Este artigo procura contribuir para o estudo sobre como, durante o Estado Novo português, em Angola, os filmes foram usados como uma arma de propaganda política ou postos ao serviço da militância pela causa da libertação do colonialismo.

Transitions revisited: The end of the Portuguese colonial empire in Luso-African cinema (1974–2014)

“…One of the most prominent figures in this context was Robert van Lierop, who directed A Luta Continua ('The struggle continues') (1972) and O Povo Organizado ('The people organized') (1976). In Angola, a similar process took place with cinematographic works by Sarah Maldoror, António Ole and Ruy Duarte de Carvalho António 2013a, 2013b).…”

“…We take as a premise that these films hint at contemporary discourses on the past (Bickford-Smith and Mendelsohn 2007). By taking such a stance, this special issue aims to expand the work of film historians such as Andrade-Watkins (1995), Arenas (2011Arenas ( , 2015, Convents (2011), Meleiro (2012), Ferreira (2012), Piçarra and António (2013a, 2013b and Fendler (2014), which provides essential information on the film history of Angola, Cape Verde, Guinea-Bissau, Mozambique and Portugal. This issue deepens some of these trends and this knowledge by concentrating on different case studies.…”

Aspetos da chegada do cinema em Moçambique

“…).Desde o início do século XX, então, os portugueses realizaram diversos filmes de propaganda nas suas colônias 10 , é o caso da Expedição cinematográfica do Catanga até à Beira, 1920; e depois outras açõesPiçarra, 2013. mostram as intenções dos portugueses de divulgar Moçambique e o seu principal porto, em Lourenço Marques, com filmes realizados para serem exibidos nas grandes exposições europeias. Convents…”