O 'princípio esperança' no novo cinema português

Abstract

Film scholars and historians mostly agree that Novo Cinema films made during the Portuguese dictatorship are fatalistic and not particularly political. However, using Ernst Bloch's "principle of hope," I argue in this essay that some of these films do in fact search for a hopeful future or change for Portuguese society. To prove my point I will first engage with the historical context and scholarly discussions of Novo Cinema before moving on to examine its key features films. Through a discussion of their main characters and aesthetics, I foreground the ways in which they call on their audience to question the status quo.

Fictions (post-)coloniales dans le cinéma portugais

“…Globalement, dans l'histoire du cinéma portugais, peu de réalisateurs sont parvenus à pointer les contradictions et les ambivalences de cette époque ou celles du modèle colonial dans leurs films, y compris dans le Cinema novo 13 -à l'exception de Mudar de vida (Paulo Rocha, 1967), Brandos Costumes (Alberto Seixas Santos, 1975) ou O mal amado (Fernando Matos Silva, 1972Silva, -1974. Par ailleurs, la censure a empêché, ou retardé, la sortie d'un certain nombre de films qui traitaient de façon plus ou moins directe de la question coloniale : on peut citer, entre autres, Grande, grande era a cidade de Rogério Ceitil (1972) ; Sofia e a educação sexual d'Eduardo Geada (1974) et Índia d 'António Faria (1972-1975.…”