Loading...
Please wait, while we are loading the content...
Similar Documents
The representation of ritual and cinema as a ritual in revolutionary Mozambique
| Content Provider | Scilit |
|---|---|
| Author | Schefer, Raquel |
| Copyright Year | 2020 |
| Description | Book Name: Contemporary Lusophone African Film |
| Abstract | This chapter assesses the complex relationships between politics and ritual, myth, and history in revolutionary Mozambique and Mozambican revolutionary cinema (1966/1987). These relationships are present in a vast corpus of films from this period, including, among others, Vinte e Cinco (Twenty five, José Celso Martinez Corrêa and Celso Luccas, 1975–1977), Makwayela (Jean Rouch and Jacques d’Arthuys, 1977), Danças Moçambicanas (Mozambican Dances, Ruy Guerra, 1979), Canta meu irmão – e ajuda-me a cantar (Sing My Brother, Help Me to Sing, José Cardoso, 1982), and O Tempo dos Leopardos (Time of the Leopards, Zdravko Velimirovic, 1985). However, this article focuses on Ruy Guerra's Mueda, Memória e Massacre (Mueda, Memory and Massacre, 1979/1980) to examine this question, as this film might be considered as one of the most relevant examples of Mozambican revolutionary cinema from an aesthetico-political perspective as well as from the point of view of its material history. Mueda, Memória e Massacre's formal procedures, and material history enable us to approach the ambivalence between the representation of politics and FRELIMO's politics of representation in this period and to sketch an archaeological and critical study of the Mozambican political and cultural programme. This study might enlighten the incompleteness and contradictions of an African modernity project based on a set of principles and premises fundamentally derived from hegemonic European modernity.$ ^{1}$ Taking into account the inscription of cinema into a project of modernization and ‘the collective investment in a socialist utopian community’ (Israel, 2014, p. 11), this article concentrates, more specifically, on the hypothesis of cinema, besides representing ritual, becoming itself a ritual, and a means to ‘resensitizing … to the physical presence of objects’ (MacDougall, 2006, p. 57). It centres, therefore, on the ritual and corporeal aspects of moving images and image making and questions of embodiment in film representation itself. |
| Related Links | https://api.taylorfrancis.com/content/chapters/edit/download?identifierName=doi&identifierValue=10.4324/9780429026836-9&type=chapterpdf |
| Ending Page | 158 |
| Page Count | 14 |
| Starting Page | 145 |
| DOI | 10.4324/9780429026836-9 |
| Language | English |
| Publisher | Informa UK Limited |
| Publisher Date | 2020-11-23 |
| Access Restriction | Open |
| Subject Keyword | Book Name: Contemporary Lusophone African Film Cultural Studies Revolutionary Cinema Ritual Massacre Mozambique Representation History Politics |
| Content Type | Text |
| Resource Type | Chapter |
