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Abstract(s)
Partindo da provocadora tela de Paula Rego, “Salazar a Vomitar a Pátria”, este ensaio discute algumas representações fílmicas da mulher portuguesa do Estado Novo, a partir de uma seleção de filmes de realizadoras portuguesas contemporâneas que lançam mão de memórias públicas e privadas e de diferentes materiais de arquivopara questionar a representação pública da ditadura. A partir de uma perspetiva feminina e comparada, o ensaio examina as lacunas epistemológicas do arquivo e reflete sobre como estas, para além de desvelarem intrincados processos de manipulação ideológica que ilustram a violência do arquivo e o seu caráter disciplinador (Derrida 1995; Foucault 1972), interrogam o cinema como médiumprivilegiado de formação, circulação e reconfiguração da memória cultural.
Starting from the provocative Paula Rego’s painting entitled “Salazar Vomiting the Homeland”, this essay discusses some filmic representations of women during Salazar’s New State. With a view to questioning the publicrepresentations of the dictatorship, a selection of films made by contemporary Portuguese filmmakers that mobilize public and private memories and a diversity of archival materials isanalyzed. From a feminine and comparative perspective, this essay examines the epistemological gaps of the archive and reflects on how the latter, besides unveiling the intricate processes of ideological manipulation that illustrate the violence of the archive and its disciplinary power (Derrida 1995; Foucault 1972), interrogate cinema as a privileged means of formation, circulation and reconfiguration of cultural memory.
Starting from the provocative Paula Rego’s painting entitled “Salazar Vomiting the Homeland”, this essay discusses some filmic representations of women during Salazar’s New State. With a view to questioning the publicrepresentations of the dictatorship, a selection of films made by contemporary Portuguese filmmakers that mobilize public and private memories and a diversity of archival materials isanalyzed. From a feminine and comparative perspective, this essay examines the epistemological gaps of the archive and reflects on how the latter, besides unveiling the intricate processes of ideological manipulation that illustrate the violence of the archive and its disciplinary power (Derrida 1995; Foucault 1972), interrogate cinema as a privileged means of formation, circulation and reconfiguration of cultural memory.
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Keywords
Arquivo Cinema Português Representações fílmicas da mulher Realizadoras portuguesas Archive Portuguese film Filmic representation of women Portuguese filmmakers