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Lobo Antunes came back from Africa in The Angolan War of Independence was the subject of many of his novels. He worked many months in Germany and Belgium. Due to the success of his first novel, Lobo Antunes decided to devote his evenings to writing. He has been practicing psychiatry as well, mainly at the outpatients' unit at the Hospital Miguel Bombarda of Lisbon.
At the same time, the world portrayed by Costa is largely shut off from mainstream culture, thus remaining unfamiliar to most Portuguese. The latter dynamics is most striking in the opening scene, which takes place in the shantytown at night. The aestheticization effect is that of a charcoal drawing typical of illustration books, thus setting the stage for the subsequent storytelling.
Simultaneously, diegetic noise emanates from neighborhood voices along with the violent crash of appliances and furniture being thrown out the window, creating an uncomfortable atmosphere. Soon after, a defiant older Cape Verdean female figure Clotilde holding a knife emerges from the dark and engages in a long monologue spoken in the badiu variant of Kriolu in which she also breaks into song.
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Her monologue involves tales about her life in Cape Verde that serve an allegorical function, where as a strong and independent girl she would swim in the ocean as deftly as a fish to the point in which no boy or shark would dare catch up with her. Not even the longingly romantic mornas that the boys would serenade her could bring her back to shore. Clotilde also tells a story of her doubts about being a mother to her child and describes the terror expressed by her child at the prospect of being abandoned by the seaside.
As she gradually withdraws into the background all we see is the knife shining in the dark, as a metaphor that condenses all the violence that will not be seen throughout the film. Later, we learn that Ventura was coupled with her, and that after being stabbed by her, she abandoned him.
We witness the former through the extensive use of contemplative close-ups, medium close-ups, and low angle shots that include contrasting geometric forms, texture, color and light, as previously pointed out, while the latter is developed through an artistic and personal partnership that the director cultivates with the actors in collectively constructing the scenes, including the conversation pieces that populate the film.
Zona J , directed by Leonel Vieira, focuses on the children of Angolan immigrants, who share with poor white Portuguese youths a turbulent life on the fringes of Portuguese society in the working-class housing complexes of Lisbon.
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The faultlines of race, class, and nationality are brought to bear in an otherwise Manichean story where juvenile exuberance and hope are dashed by the realities of a relentlessly prejudiced dominant culture. In fact, as Isabel de Sousa Ramos asserts, there is a crude depiction of racist attitudes and acts, which is rare in Portuguese cinema Additionally, for many of the young characters portrayed throughout the film, weak family structures and the lack of economic opportunities lead them to the temptations of crime.
One of the most remarkable elements of this pioneering film is its musical soundtrack which features the best hip-hop music of its time in Portugal, primarily by black artists, which was still somewhat of a novelty. The music soundtrack of Zona J emanating from the periphery of Portuguese society left an indelible sonic imprint on the cultural landscape of Portugal thus contributing towards the assimilation and appropriation of hip-hop as it gradually became part of the Portuguese musical mainstream.
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The story entails the disgracing of a popular and wealthy soccer coach Francisco Figueiredo who is ethically opposed to game rigging, which is part of the corrupt culture of world professional soccer. While his father suffers from paralyzing emotional trauma, the son struggles to and eventually succeeds in regaining his sense of dignity and self-worth by cultivating a romantic relationship with a Cape Verdean-Portuguese female classmate.
Africa has been an object of representation in contemporary Portuguese literature and cinema more consistently so in Portuguese novels since the April Revolution of More recently, however, there has been a boom in colonial memorialistic literature as the children of white Portuguese who were born in Africa during late colonial times are coming of age In this paradigmatic novel the destiny of the contemporary Portuguese nation is an object of critical reflection and symbolic transfiguration. The lives of several generations of these two families intersect in a story where racism and the fear of miscegenation, especially on the Portuguese side, play a central role.
Here, the myths of a white European nation together with that of an intrinsically Portuguese openness towards other cultures and races are systematically debunked. This novel reveals the various strategies employed by members of these families in coping with the social changes taking place in their midst.
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The historically dominant metropolitan group rejects the immigrants and their descendants at the same time stifling their social mobility, while one member of this family, Milene, accepts them, at the same time desiring a mutual integration that is cultural, affective, and sexual. Since she died, her adult children plan to sell the prime real estate to a Dutch firm interested in building a new urban development, but such would entail evicting the Matas. This love affair causes deep consternation within the Leandro family, to the point of having her criminally sterilized, thus denying her and themselves a mixed-race descendance, thus fulfilling an eugenicist fantasy, though not forestalling the emergence of a multicultural society in Portugal, in spite of the fact, as argued by Paulo de Medeiros , p.
The highly elliptical story revolves around a police investigation of a gang of eight mixed-race, black, and white adolescents from the low-income suburbs located north of Lisbon who commit violent crimes such as burglaries and muggings, whom are eventually killed by the police one by one. In this novel a proliferation of interior thoughts, bits of truncated dialogue, and fragments of a long police report on the crime suspects are interwoven together, where the official discourse of power is frequently undermined by an array of contradictory as well as vexed private emotions and thoughts.
The dominant, albeit fractured point of view, is that of the inspector who conducts the investigations on the crime wave. By the same token, he constitutes the embodiment of a profound ideological contradiction, whereby he is capable of simultaneously harboring racial hatred for the boys whom he kills, while at the same time gradually developing an intimate relationship with a mixed-race woman who lives in the same neighborhood where the boys live, thus overcoming to a degree his racial prejudices. When their point of view finally emerges towards the end of the novel, what is revealed are deeply troubled lives of children and youngsters deprived of solid family and societal structures of support.
Ultimately, through this novel, the author argues that there is a decisive pattern of continuity in the racist ideology intrinsic to colonialism in postcolonial Portugal, particularly in relationship to African immigrants and their descendants. By the same token, there are other key sites of cultural and artistic production, such as popular music, theater, and visual arts beyond cinema , where there is a presence of unmediated African and Afro-Portuguese voices that heretofore have seldom been the object of critical reflection, but that will surely become the focus of future studies.
Lisbon in the years , , and Um retrato social vols. The Cape Verdean diaspora in Portugal: Colonial subjects in a postcolonial world. The location of culture. Portuguese expansion and the writing of Africa.