When the archive vomits Salazar: representations of women in contemporary Portuguese film

Adriana Martins

doi:10.34632/diffractions.2021.10301

When the archive vomits Salazar: representations of women in contemporary Portuguese film

Adriana Martins

Research output: Contribution to journal › Article › peer-review

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Abstract

Starting from the provocative Paula Rego painting entitled “Salazar Vomiting the Homeland,” this essay discusses some filmic representations of women during Salazar’s New State. With a view to questioning the public representations of the dictatorship, a selection of films made by contemporary Portuguese filmmakers that mobilize public and private memories and a diversity of archival materials is analyzed. From a feminine and comparative perspective, this essay examines the epistemological gaps of the archive and reflects on how the latter, besides unveiling the intricate processes of ideological manipulation that illustrate the violence of the archive and its disciplinary power (Derrida 1995; Foucault 1972), interrogate cinema as a privileged means of formation, circulation, and reconfiguration of cultural memory.

Original language	English
Pages (from-to)	99-117
Number of pages	19
Journal	Diffractions
Issue number	4
DOIs	https://doi.org/10.34632/diffractions.2021.10301
Publication status	Published - 29 Oct 2021

Keywords

Archive
Portuguese film
Filmic representation of women
Portuguese filmmakers
Margarida Cardoso
Inês de Medeiros
Catarina Mourão

UN SDGs

This output contributes to the following UN Sustainable Development Goals (SDGs)

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10.34632/diffractions.2021.10301Licence: CC BY

38915308Final published version, 310 KBLicence: CC BY

http://hdl.handle.net/10400.14/35748Licence: CC BY

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AB - Starting from the provocative Paula Rego painting entitled “Salazar Vomiting the Homeland,” this essay discusses some filmic representations of women during Salazar’s New State. With a view to questioning the public representations of the dictatorship, a selection of films made by contemporary Portuguese filmmakers that mobilize public and private memories and a diversity of archival materials is analyzed. From a feminine and comparative perspective, this essay examines the epistemological gaps of the archive and reflects on how the latter, besides unveiling the intricate processes of ideological manipulation that illustrate the violence of the archive and its disciplinary power (Derrida 1995; Foucault 1972), interrogate cinema as a privileged means of formation, circulation, and reconfiguration of cultural memory.

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KW - Portuguese film

KW - Filmic representation of women

KW - Portuguese filmmakers

KW - Margarida Cardoso

KW - Inês de Medeiros

KW - Catarina Mourão

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JO - Diffractions

JF - Diffractions

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ER -

When the archive vomits Salazar: representations of women in contemporary Portuguese film

Abstract

Keywords

UN SDGs

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