Migration in Lusophone Cinema
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Migration in Lusophone Cinema Edited by Cacilda Rêgo and Marcus Brasileiro
migration in lusophone cinema Copyright Cacilda Rêgo and Marcus Brasileiro, 2014. Softcover reprint of the hardcover 1st edition 2014 978-1-137-40891-4 All rights reserved. First published in 2014 by PALGRAVE MACMILLAN in the United States a division of St. Martin s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-48845-2 ISBN 978-1-137-40892-1 (ebook) DOI 10.1057/9781137408921 Library of Congress Cataloging-in-Publication Data Migration in Lusophone cinema / edited by Cacilda Rego and Marcus Brasileiro. pages cm Includes bibliographical references and index. 1. Emigration and immigration in motion pictures. 2. Immigrants in motion pictures. 3. Aliens in motion pictures. 4. Motion pictures Portugal History. 5. Motion pictures Brazil History. 6. Motion pictures Africa, Portuguese-speaking History. I. Rêgo, Cacilda, editor. II. Brasileiro, Marcus, 1969 editor. PN1995.9.E44M55 2014 791.4396552 dc23 2014022174 A catalogue record of the book is available from the British Library. Design by Newgen Knowledge Works (P) Ltd., Chennai, India. First edition: November 2014 10 9 8 7 6 5 4 3 2 1
To Byron Burmester, my best reason to migrate. And to my parents, friends, and relatives who stay so close in the distance. M.B. To my parents, Raul (in memoriam) and Gicélia, with gratitude and many saudades C.R.
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Contents List of Figures Acknowledgments ix xi Introduction 1 Cacilda Rêgo and Marcus Brasileiro 1 Imagining Migration: A Panoramic View of Lusophone Films and Tabu (2012) as a Case Study 17 Carolin Overhoff Ferreira 2 Thinking of Portugal, Looking at Cape Verde: Notes on Representation of Immigrants in the Films of Pedro Costa 41 Nuno Barradas Jorge 3 Outros Bairros and the Challenges of Place in Postcolonial Portugal 59 Derek Pardue 4 Deterritorialization Processes in the Portuguese Emigratory Context: Cinematic Representations of Departing and Returning 77 Fátima Velez de Castro 5 Performing Criminality: Immigration and Integration in Foreign Land and Fado Blues 93 Frans Weiser 6 Two Hungaries and Many Saudades: Transnational and Postnational Emotional Vectors in Contemporary Brazilian Cinema 113 Jack A. Draper III 7 Reverse Migration in Brazilian Transnational Cinema: Um passaporte húngaro and Rapsódia Armênia 131 Nadia Lie
viii Contents 8 Otherness and Nationhood in Tizuka Yamasaki s Gaijin I and Gaijin II 151 Álvaro Baquero-Pecino 9 Cinema, Aspirins, and Vultures: A Double Escape from a Global Conflict 167 Ursula Prutsch 10 European Immigrants and the Estado Novo in Contemporary Brazilian Cinema 187 Carolina Rocha 11 The Migrant in Helena Solberg s Carmen Miranda: Bananas Is My Business 203 Regina R. Félix Filmography 221 Notes on Contributors 223 Index 227
Figures 1.1 Tabu: The explorer 28 1.2 Tabu: The explorer and his servants 28 1.3 Tabu: Citation of ethnographic documentaries 29 1.4 Tabu: Santa reading Robinson Crusoe 32 1.5 Tabu: Maya and Pilar at the airport 33 1.6 Tabu: Pilar and her NGO 33 1.7 Tabu: Aurora, the hunter 35 5.1 Foreign Land: Border checkpoint 97 5.2 Foreign Land: Paco s apartment building seen in relation to the elevated expressway 101 5.3 Foreign Land: Lisbon s skyline 102 5.4 Fado Blues: The police officer from Amadeu s point of view 103 5.5 Fado Blues: Leonardo imitates Rio s Iconic Christ the Redeemer Statue 105 5.6 Fado Blues: The final scene reinforces its message of equality 108
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Acknowledgments We would like to thank a number of people who have helped in the preparation of this book. We are very much indebted to the contributors for the various drafts they supplied and the many deadlines they met. Fernando Arenas, Piers Armstrong, and Anne Gibson provided valuable suggestions at different stages of the project. Thanks also to the anonymous reviewer for the invaluable time and insightful comments on the manuscript. Special appreciation goes to Myra Cook Brown for her generosity, for the lively conversations and meticulously copyediting many of the articles of this book. We would like to thank everyone at Palgrave particularly Erica Buchman (editorial assistant), Robyn Curtis (editor), and Abimbola Oladipo (production assistant), as well as Deepa John (project manager) at Newgen Knowledge Works for helping bring this book to fruition.