Portuguese Film, 1930-1960,: The Staging of the New State by Patricia Vieira

By Patricia Vieira

Portuguese movie, 1930-1960: The Staging of the recent country Regime presents groundbreaking research of Portuguese function movies produced within the first 3 a long time of the recent kingdom (Estado Novo), a right-wing totalitarian regime that lasted among 1933 and 1974. those motion pictures, subsidized through the nationwide Propaganda Institute (Secretariado Nacional de Propaganda), exhibit a conservative picture of either mainland Portugal and the country's in another country African colonies (Angola, Mozambique, Cape Verde, Guinea-Bissau and St. Thomas and Principe). the movies in regards to the mainland emphasize conventional values, the significance of obedience to gurus and a strict department of gender roles, wherein girls are relegated to the family sphere. The Portuguese geographical region, 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 matters to Portuguese rule.
The booklet contains bankruptcy summaries within the creation, in-depth analyses of crucial Portuguese movies produced among 1930 and 1960, a dialogue of the most issues of Portuguese cinema from the hot nation, and a complete bibliography that publications scholars who desire to learn extra on a selected subject. First released in Portuguese to huge acclaim, Portuguese movie, 1930-1960: The Staging of the recent nation Regime fills a spot in English-language scholarship at the heritage of the nationwide cinema of the Iberian peninsula. motion pictures lined 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

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The role of documentary footage in The May Revolution is similar to the one played by documentary images in propaganda films produced by other totalitarian states. 4 Documentary footage in The May Revolution Kracauer stresses that many of the German fictional propaganda works from the 1930s and 1940s included documentary footage in scenes where fictional material would have been aesthetically more efficient. Kracauer argues that this technique was part of the effort to distort the real that characterizes propagandistic art.

A parallel reading of these two Freudian texts points to a problem that arises when we try to use the psychoanalytic theory of group relations to understand the mechanisms of modern propaganda. In Totem and Taboo, Freud postulates that the beginning of what we call “civilization” and all modern political organization dates back to an initial trauma, the moment when a group of brothers—an imaginary prototype of all later societies—killed their father, driven by the desire to take his place. No authoritarian regime intends for the identification of its acolytes 42 Portuguese Film, 1930–1960 with the figure of the dictator to degenerate into a feeling of hatred towards him, which would drive the members of the community to literally or figuratively kill their leader.

51 In The May Revolution, the abundance of documentary footage that depicts the masses saluting Salazar could lead the less gullible viewers to question this emphasis and to see the excessive use of this type of sequences as a way to hide the lack of public support for the politics of the New State. 52 In addition, César’s “conversion” to the government ideology suggests that there were many other nonbelievers who might have never become proselytes. As Kracauer indicates, propaganda films risk failure since the public can recognize a regime’s flaws precisely in the propagandistic efforts to represent a given political system in a positive light.

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