Guiné-Bissau: do cinema de Estado ao cinema fora do Estado

Cunha, Paulo; Laranjeiro, Catarina

doi:10.22475/rebeca.v5n2.373

Cited by 5 publications

(6 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Therefore, the perspective from which Bissau-Guinean cinema is usually assessed might be inadequate when it comes to vernacular filmmaking because it fails to consider the conditions under which film and audiovisual production and consumption currently take place in Guinea-Bissau (Cunha, 2013;Cunha;Laranjeiro, 2016Laranjeiro, , 2020Roque, 2021). At the same time, the binary distinctions such as elite-popular, or political-entertaining, that have served to distinguish African auteur cinema from vernacular filmmaking, may also prove inadequate (Diawara, 1992).…”

Section: Dossiêmentioning

confidence: 99%

Projetando Questões de Género no Cinema Vernacular Guineense

Laranjeiro

2023

TOMO

View full text Add to dashboard Cite

A produção cinematográfica e audiovisual vernacular na Guiné-Bissau, viral entre os seus habitantes, está a crescer exponencialmente. Retratando eventos quotidianos, são habitualmente exibidos em sessões informais de cinema ou partilhados em canais de internet, atingindo milhares de telespectadores dentro do país, e nas suas diásporas na Europa. Estes filmes e produções audiovisuais constituem recursos valiosos para estudar as percepções populares, relativamente às questões de género. Este artigo revisita a história das políticas de género na Guiné-Bissau para analisar como essa produção vernacular está a representar as transformações de género em reação à instabilidade social e política, um campo que carece de questionamento e pesquisa. Além de identificar padrões comuns nessas narrativas, esta análise procura contextualizá-las, explorando a participação de mulheres e homens no mundo laboral e familiar, propondo uma leitura crítica que considera as omissões dessa produção cinematográfica e audiovisual, elas mesmas, reveladoras.

show abstract

Section: Dossiêmentioning

confidence: 99%

Projetando Questões de Género no Cinema Vernacular Guineense

Laranjeiro

2023

TOMO

View full text Add to dashboard Cite

show abstract

“…Descolonização (Cunha;Laranjeiro, 2016), one of the leaders of the movement to decolonize continental Africa. Cabral trusted the pedagogical power of images, cinema, and art as narrated by Grada Kilomba (Goethe-Institut São Paulo, 2016).…”

Section: Beautiful Wordsmentioning

confidence: 99%

Borderless: Global Narratives in Art Education

Shin

Hutzel

2022

View full text Add to dashboard Cite

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher. This anthology crossed many borders in bringing together the research and voices of seven different countries, including five languages. It was no easy feat, and we (Ryan Shin and Karen Hutzel) are thankful to many who were a part of this journey. While we were co-editors of the Journal of Cultural Research in Art Education, the topic of Borderless: Global Narratives in Art Education became the theme of the third and final edition of the journal under our editorship. The idea to connect to countries across the world was Ryan's, and he reached out and engaged the editors of all the journals represented in this book and a few more that did not make it into this book. As this project took hold into a book, our vision was to capture the voices of the journals that also ran issues within this theme into one place in order to best represent and archive a global perspective on art education. In all of this time, we relied on the expertise of our editorial assistant, Elle Pierman, who started as a graduate student at Ohio State and editorial assistant to the journal and finished with us as editorial assistant and contributing editor to the book. Elle's organizational acumen, willingness to learn, incredible editing expertise, graphic design abilities, and general ability to really make it happen through difficulties might be the only reason this book has come to fruition! We can't thank her enough for her commitment to us, to this project, and to the field. Within the timeframe of all of this, she earned the title Elle Pierman, PhD, and we are thrilled to have her as a colleague. As well, we are so thankful to the editors of the contributing journals first for agreeing to produce a journal issue under this theme and second for then agreeing to work with us and their authors to republish journal articles selected as chapters in this book. Their contributions to this task were immense, requiring a lot of back and forth, further editing, coordination of authors, and in some cases, translation into English. Thank you to

show abstract

“…But before I turn to this part of the film, it will be useful to place Orsini and Filippi's Guinea Bissau experience in the context of the internationalist political cinema collaborations of the period. Guinea Bissau's national cinema developed after Independence in 1974 (Cunha and Laranjeiro 2016;César 2017), but Cabral was interested in cinema as a communication tool before then. More specifically, he was aware of the role media could play in international propaganda (Duarte Marthino 2017).…”

Section: Guinea Bissau April 1967mentioning

confidence: 99%

I dannati della terra: The Italian left facing the Third World on the eve of 1968

Mestman

2021

Journal of Italian Cinema &Amp; Media Studies

View full text Add to dashboard Cite

The Italian film I dannati della terra (The Damned of the Earth) (Orsini and Filippi 1968) is a prominent example of the connection between the European cinema of intervention and the Third World struggles of the 1960s. Set as a ‘film within a film’, the movie tells the story of a leftist filmmaker, Fausto Morelli, who faces the challenge of finishing a film about the liberation struggles of sub-Saharan Africa by building on the documentary footage that was bequeathed to him by his student and friend, the young Abramo Malonga, an African (Bantu). This article recovers overlooked and little-known documents about the film to show that it is the expression of an active cinematic Third Worldism forged in previous years between the legacy of the Resistenza Partigiana (Italian Resistance) and the Third World struggles of the 1960s. At the same time, the article analyses the ways in which the film ‘dialogues’ with experimental trends of the contemporary avant-garde artistic scene in order to challenge the viewer to debate the ‘open ideological hypothesis’ of the film and take an active part in the political struggles of the time.

show abstract

Guiné-Bissau: do cinema de Estado ao cinema fora do Estado

Abstract: Proprietas. É membro fundador e dirigente da AIM -Associação de Investigadores

Cited by 5 publications

References 0 publications

Projetando Questões de Género no Cinema Vernacular Guineense

Projetando Questões de Género no Cinema Vernacular Guineense

Borderless: Global Narratives in Art Education

I dannati della terra: The Italian left facing the Third World on the eve of 1968

Contact Info

Product

Resources

About