O mar e os pescadores ou a ténue fronteira entre a realidade e a ficção no cinema de Leitão de Barros.
PDF
HTML

Palavras-chave

Leitão de Barros
Estado Novo
Teoria do Autor
Documentário
Gênero de filme

Resumo

José Leitão de Barros is an unavoidable name of the Portuguese cinema from the 20s to the 50s. Despite having worked during a dictatorship, one can see in his films traces of an authorship mark that go beyond the ties of the regime. One of these marks is a coherent universe that passes through several films. During his career, he has directed five movies that have the sea and fishermen as its main theme: Nazaré, Praia de Pescadores (1929), Maria do Mar (1930), A Pesca do Atum (1939), Póvoa de Varzim (1942) e Ala-Arriba! (1942). At first sight, we could think that this set of films had a similar structure: two documentary short films of a particular location (Nazaré, Praia de Pescadores e Póvoa de Varzim) would frame two feature films made shortly after in those same locations with the participation of the local population (Maria do Mar e Ala-Arriba!). However, this is not the case as we intend to show how A Pesca do Atum is more a preamble, or a preparatory study for Ala-Arriba! than Póvoa de Varzim itself. We will also focus on the strong documental aspect even of the feature films, which is not a surprise as, according to José Manuel Costa, Leitão de Barros was in line with the international trend of the 20s that inspired the origin of documentary as a film genre.

https://doi.org/10.37390/ac.v0i0.43
PDF
HTML
Creative Commons License

Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.

Direitos de Autor (c) 2019 AVANCA | CINEMA