Pedro Costa on the Island of the Dead: Distant Referencing and the Making of Casa de Lava (1995)1

Jorge, Nuno Barradas

doi:10.1093/adaptation/apu030

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The Camera Consumed: Beyond Fiction and Documentary1

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2020

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“…The vaccines she had brought are out of date and the children she has given them to become sick. This narrative crisis is echoed at a formal level by the ways in which Costa exposes the apparatus of cinema and in doing so undermines what he describes as cinema's 'false innocence' (Jorge, 2014 : 261).…”

Section: The Camera Consumed: Beyond Fiction and Documentarymentioning

confidence: 99%

The Camera Devoured

Moran

2020

EIRJ

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Pedro Costa's Casa De Lava (1994) draws on the cannibalistic potential of cinema in order to excavate the history of colonialism in Cape Verde. Cannibalism operates in a two-fold manner in Casa. Firstly, it refers to Costa's practice of employing cinematic references in order to draw out otherwise concealed elements of earlier films. Secondly, it denotes an aesthetic practice in which the film is cannibalised by the people and geography of Cape Verde. By operating in a zone between documentary and fiction, Casa undermines the commodifying and exoticising tendencies of cinema. Instead, by drawing on the stories of the people of Cape Verde, the film illustrates the way in which the legacy of colonialism continues to haunt the island. Cannibal cinema in Casa is a method for making these otherwise concealed histories speak, and in doing so, create new forms of cinematic invention.

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Section: The Camera Consumed: Beyond Fiction and Documentarymentioning

confidence: 99%

The Camera Devoured

Moran

2020

EIRJ

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show abstract

Pedro Costa on the Island of the Dead: Distant Referencing and the Making of Casa de Lava (1995)1

Cited by 1 publication

References 1 publication

The Camera Devoured

The Camera Devoured

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