Cinematic Walls: Pedro Costa’s Mural Imagination

Journal of Lusophone Studies

Estela Vieira¹ 

[1] Indiana University Bloomington;

关键词: O sangue;    Denis Diderot;    Georg Simmel;    symbolism of walls;    limits in cinema;   

DOI  :  10.21471/jls.v2i1.142

来源: DOAJ

【 摘 要 】

This essay offers a reading of Pedro Costa’s first feature-length film, O sangue (1989). It explores the representation of different sorts of walls, their semantic inferences and functions, arguing that Costa's "mural imagination" speaks to the limits—or perceived limitlessness—of contemporary filmmaking. I show that in O sangue, walls emerge as tools for defining realism and its relation to cinema. Beyond this, they work as rhetorical strategies to interrogate the threshold between fact and fiction and between socio-political realities and artistic filmmaking. For Costa, walls emphasize the authenticity of fictional worlds and highlight the ways in which audiences relate to the realities and communities represented on screen.

【 授权许可】

Unknown