Le cinéma accompagne l’événement révolutionnaire: le cas du film collectif portugais "As Armas e o Povo" (1975)

• Autores: Mickaël Robert-Gonçalves
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 602-611
• Idioma: francés
• Texto completo no disponible (Saber más ...)
• Resumen

  • To think of the Carnation Revolution movies is to recollect a practice, a reflex: the cameras are out, in the streets,to record the event in its own process. João Benard da Costa has named quite rightly his chapter dedicated to therevolutionary cinema of his Historias do cinema « The arms and the people: the cinema out in the streets ». Thiscinema, one of immediate reactivity to the event, seeks to film everything, almost with bulimia and wants to let speakthose who had been forced to silence for so long: the Portuguese nation. This article will focus on the collectivemovie As Armas e o Povo. Directed in 1974, it « conveys, instantaneously, the ideas of a time », as suggests LuisMiguel Oliveira.First, we will be coming back to its iconography, that of a national union symbolized, among others, by the alliance« people-MFA ». We will deal, then, with the disrupted aesthetic brought in the movie by the recorded voices ofthe Portuguese people. This movie gives way to testimony as a real visual poetics, brought to its climax in thesequences shot by the Brasilian filmmaker Glauber Rocha. Besides being a historical work of events capture, themovie achieves another mission of the engaged cinema, that of offering a visibility to those who do not have one,while making the image the heart of the political reflection.