“Manoel de Oliveira is the great Portuguese artist of the last century (XX and XXI), and I have no doubt that his work will reach the importance and recognition of Fernando Pessoa”. The conviction is Anthony Black, a professor and essayist who in recent years has devoted part of its work to the analysis and dissemination of the director’s work.
An exhibition of book-catalog Manoel de Oliveira / Jose Regio – Rereading and Ghosts , held in 2009 in Vila do Conde, interviews for the magazine Cahiers du Cinéma , the last of which came out in November, and texts in the 3rd and last volume on the exhibition catalog that the Serralves Foundation dedicated to the Olive century (2008-15) are some of the moments of production Antonio Preto. “The Manoel was in Serralves in February, the presentation of the catalog; must have been the last of it out, and it was a work-out, as took the opportunity to shoot, “recalls the essayist – and the PUBLIC know that the project Oliveira had lately at hand was more a return to the past, small documentary Coal White (1932) on the central hydro-electric of Ermal installed by his father on the river Ave, and soon had done following his first labor, Douro, Faina Fluvial
António a PhD in Film Studies at the University Paris-Diderot 7, 2011. And set the Olive film as the main subject of their research. “It was when I was thinking of doing a doctoral thesis on the relationship between text and image that I decided to call the Manoel to tell you that was going to work on his work. He invited me soon to go to his house, “says the teacher about this contact happened just over a decade, and that resulted in a lasting friendship. Such that Anthony Black became the spoken name to direct the House Museum Manoel de Oliveira, when Serralves announced that it would host the equipment -. A project still awaiting implementation
“It was a relationship that has matured with time, but it passes through a great admiration for his film,” he adds. Still on the comparison with the name Person, Anthony Black establishes a creative parallelism between them. “Oliveira managed in a more dialogic, more extended in time, more participatory, more political, addressing one that is perhaps the ultimate goal of humanity – Freedom”. And advances to new parallelism, this time between the work and the life of the director. Since its “problem-posture, inventive, counter current and never followed fashion” in the New State of time until a second phase, already after 25 April 1974. “It is a deep current work, even when you are film the past “- and cites the case of No, or the Vain Glory of Command (1990) – is interested in the now, the present and the future.” Moreover, Black thinks “the programmatic core” of this film in which the director stages and reflects on the history of Portugal from their defeats and lost battles is that “what is to the world is not what we conquer, but what happens. “
What will be, in Portugal and in the world, the work of Manoel de Oliveira after his physical disappearance? “His gigantism, so far, was shared between the work and the person. What today disappears from our presence is only a part, but it is the only thing that can get: the work and example. ” And on the recognized fact that his films always have first been recognized abroad and not at home, Anthony Black admits almost as inevitable that this will continue to happen. “We, in our small perimeter, we will be faced with multiple views that we continue to be offered.” But that does not diminish the greatness of “an author who has been in the proper sense of the term, which always waived its authority” before always made himself available “to learn by the end.”
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