By Patricia Vieira
Portuguese movie, 1930-1960: The Staging of the hot nation Regime offers groundbreaking research of Portuguese characteristic motion pictures produced within the first 3 a long time of the hot kingdom (Estado Novo), a right-wing totalitarian regime that lasted among 1933 and 1974. those motion pictures, subsidized by means of the nationwide Propaganda Institute (Secretariado Nacional de Propaganda), show a conservative photo of either mainland Portugal and the country's abroad African colonies (Angola, Mozambique, Cape Verde, Guinea-Bissau and St. Thomas and Principe). the movies concerning the mainland emphasize conventional values, the significance of obedience to specialists and a strict department of gender roles, wherein girls are relegated to the household sphere. The Portuguese nation-state, the place age-old customs and a powerful social hierarchy prevailed, is gifted in those video clips as a version for the remainder of the rustic. the flicks in regards to the colonies, in flip, underline some great benefits of the Portuguese presence in Africa and painting the colonized as docile topics to Portuguese rule.
The e-book comprises bankruptcy summaries within the creation, in-depth analyses of crucial Portuguese motion pictures produced among 1930 and 1960, a dialogue of the most themes of Portuguese cinema from the recent nation, and a entire bibliography that courses scholars who desire to learn extra on a particular subject. First released in Portuguese to vast acclaim, Portuguese movie, 1930-1960: The Staging of the hot nation Regime fills a spot in English-language scholarship at the historical past of the nationwide cinema of the Iberian peninsula. motion pictures coated contain Fatima, Land of Faith (Terra de Fe), Spell of the Empire (Feitico do Imperio), and Chaimite.
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Additional info for Portuguese Film, 1930-1960,: The Staging of the New State Regime
These function as substitutes for the head of government through a subtle manipulation of the viewers, who are led to surrender and, more insidiously, to want to surrender to the power of the authorities. Several films from this period focus on Salazar’s surrogates: authority figures who form part of the regime’s central institutions, such as the Police, the Catholic Church, and the Army. 67 Priests, lieutenants, and generals operate as replacements for Salazar, and they play a role of leadership similar to that of the statesman, either on the spiritual or on the military level.
If the Nazis merely sought to substitute existing reality with one fabricated by them, it would have been easier to resort to fictional images and superimpose them over actuality. However, this would not have destroyed the real but would have merely banished it, allowing it to persist in the subconscious of the people. ”50 The documentary images assimilated into fictional films contributed in this way to a modification of reality that made the artificial ideology of Nazism more concrete. The process described by Kracauer corresponds to the technique used in The May Revolution.
Just this: constantly hammer his ideas, strip them of their rigidity, give them life and warmth, communicate them to the multitude. The dictator should speak to the people, and the people should speak to him. 54 38 Portuguese Film, 1930–1960 Ferro outlines here the key principles of a populist government: a relationship without intermediaries between the political leader and the masses; the enunciation of government decisions as decisions for the people or, in other words, decisions made in order to safeguard the population’s interests; and the creation of a strong emotional link between the masses and the leader, which translates into the warm acclaim of the latter as the unquestionable head of the nation.
Portuguese Film, 1930-1960,: The Staging of the New State Regime by Patricia Vieira