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Portuguese Film, 1930-1960,: The Staging of the New State Regime, by Patricia Vieira
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Portuguese Film, 1930-1960: The Staging of the New State Regime provides groundbreaking analysis of Portuguese feature films produced in the first three decades of the New State (Estado Novo), a right-wing totalitarian regime that lasted between 1933 and 1974. These films, sponsored by the National Propaganda Institute (Secretariado Nacional de Propaganda), convey a conservative image of both mainland Portugal and the country's overseas African colonies (Angola, Mozambique, Cape Verde, Guinea-Bissau and St. Thomas and Principe). The films about the mainland emphasize traditional values, the importance of obedience to authorities and a strict division of gender roles, whereby women are relegated to the domestic sphere. The Portuguese countryside, where age-old customs and a strong social hierarchy prevailed, is presented in these movies as a model for the rest of the country. The films about the colonies, in turn, underline the benefits of the Portuguese presence in Africa and portray the colonized as docile subjects to Portuguese rule.
The book includes chapter summaries in the introduction, in-depth analyses of the most important Portuguese films produced between 1930 and 1960, a discussion of the main topics of Portuguese cinema from the New State, and a comprehensive bibliography that guides students who wish to read further on a specific topic. First published in Portuguese to wide acclaim, Portuguese Film, 1930-1960: The Staging of the New State Regime fills a gap in English-language scholarship on the history of the national cinema of the Iberian peninsula. Films covered include Fatima, Land of Faith (Terra de Fe), Spell of the Empire (Feitico do Imperio), and Chaimite.
- Sales Rank: #6465457 in Books
- Published on: 2015-04-23
- Released on: 2015-04-23
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .58" w x 6.00" l, .84 pounds
- Binding: Paperback
- 272 pages
Review
“This book is a major achievement, but it is difficult. Most readers will be intimidated: they will not know the films; the films are not very good ('too heavily invested in disseminating the values of the regime'); and few readers have the history of Portugal at their fingertips. Vieira (Georgetown) puts Salazar in the Mussolini/Hitler category. Hideous aspects of cruel tyranny mark every regime-approved film. Salazar, the ruler of Portugal's so-called New State, wanted to combat lies, error, slander, and ignorance. See the film A Revolução de Maio, or The May Revolution (1937). He believed that good rural life, agriculture, is humanity's call (A Canção de Terra, or The Song from the Earth, 1938). Virtuous women (i.e., women obedient to men) are the foundation of society. The Portuguese are spiritual (Fátima Terra de Fé, Fatima, Land of Faith, 1943). What about colonies?They are necessary, democratic, and Christian (Feitiço do Império, Spell of Empire, 1940). Colonizing is spiritual, protective, civilizing (Chaimite, 1953). The best supplement to this intensity study is not a history of Portuguese movies, but a consideration of propaganda, like Toby Clark's Art and Propaganda in the Twentieth Century: The Political Image in the Age of Mass Culture (1997). Summing Up: Highly recommended. Graduate students, researchers, faculty.--” ―CHOICE
“With an interesting sociological approach, Vieira intelligently applies the works of Kracauer, Freud and Weber to the study of a basic, yet relatively unknown, aspect of Salazar's regime: propaganda ... A concise and well-researched text.” - Historical Journal of Film, Radio and Television
About the Author
Patricia Vieira is Assistant Professor in the Department of Spanish and Portuguese, in the Comparative Literature Program, and in the Film and Media Studies Program of Georgetown University, Washington, USA.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Insight into the Salazar period
By Elsa Shepard
This specialist book gives a vivid picture of the Salazar regime as reflected in the cinematographic production of the time. It is a well-structured analytical survey of this historical period, which is explored from a number of key angles: the overall New State's ideology, and the role played in it by city and countryside; the colonies; religion; gender; fado singing and folklore; favoured literary figures; and other areas of scrutiny. With its comprehensive and in-depth approach, this book is of good value to those seeking a well-informed appraisal of a distinctive period in Portugal's twentieth century history.
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