Shades of Grey: 1960s Lisbon in Novel, Film and Photobook
How is 1960s Lisbon represented? How, indeed, can the experience of any city be embodied in the artistic media? Castro examines three case studies: Jose Cardoso Pires's novel Balada da Praia dos Caes, Eduardo Gageiro's photobook Lisboa no Cais da Memoria, and Fernando Lopes's film Belarmino. Here, in the declining years of Portugal's Estado Novo dictatorship, we see literature, film and photography used to challenge received ideas of national history. But here too we see the very personal figure of the flaneur, the mobile individual who provides a narrative mechanism, as a way of reading the city. Castro's innovative readings are augmented by theoretical approaches to topics such as history and postmodernist literature, street photography, everyday life, documentary film and urban space.
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aesthetic antónio argue aspects bairro Balada Baptista-Bastos Barthes Belarmino boxer café Cais da Memória camera Canção de Lisboa Cardoso Pires Casa da Vereda Certeau cidade Cinéma Vérité Clube comédia à portuguesa connotes context Costa e silva crime depiction describes detective fiction dictatorship discourse discussion documentary effect elias emotional Estado Novo everyday ex-boxer ex-boxer’s existence experience experiential strand fact Fernando Lopes figure film’s filmmaking flânerie flâneur focus Fontenova Free Cinema Gageiro’s genre Grierson Griersonian historical historiographic metafiction humanist iconic investigation Lisboa no Cais Lisbon lives Lopes’s film Major Mena Mena’s montage movement narrative narrator novel Novo Cinema Português o’neill’s otero past photobook photographic image Pide Pires’s poem poetic police Polícia political Portugal Portugal’s Portuguese cinema present produced protagonist reader reading regime’s represent representation santana scene sequence shot shows situation social society spatial street photography symbolic tactic techniques tempo traditional unpaginated urban space viewer voice whilst