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Cinematic Narratives of Macau: Foreign Perspectives and Portuguese Portrayals

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Ramos A.

Acta Asiatica Varsoviensia

2024

vol. 37

193-213

This article delves into history of cinema in Macao, exploring the contrasting viewpoints of foreign Western filmmakers and Portuguese filmmakers during the colonial administration. It reveals a prevalent tendency among the foreign filmmakers to portray the territory through a negative lens. In contrast, the study analyses the historical narratives of Portuguese cinema in Macao. It shows a consistently positive portrayal, shaped by Portuguese filmmakers. The article unravels the intricacies of filmmaking dynamics in Macao, shedding light on divergent cinematic perspectives by focusing on the careers of Ricardo Malheiro and Miguel Spiguel. This examination serves as a compelling lens for understanding the broader dichotomy between foreign and Portuguese representations of Macao, this culturally rich territory.

"Gayl Jones and Travel No-Where"

58%

Kelley W.

Review of International American Studies

2024

vol. 17

issue 1

37-52

Gayl Jones (USA, b. 1949) writes of journeys throughout the Americas, while also, if implicitly, exploring a global African diaspora. Her epic historical novel Palmares (2021) focuses on Brazil, retelling the story of Zumbi, 17th-century Afro-Brazilian leader of a quilombo, or fortified rebel city. Palmares did finally fall to Portuguese colonial militias in 1694-5, and in her book Gayl Jones’s protagonist, Almeyda, then travels to what she hopes will be a new or second Palmares. Her journey, however, frustratingly and paradoxically seems to get her nowhere. But, as we will see, this nowhere reveals the No-Where of Palmarians’ lives, a placelessness that seems uncertain, but at the same time offers freedom, or at least imaginative space. Like legendary “flying Africans,” people who escaped enslavement by leaping into the air, Jones’s characters appear to launch themselves into an unknown, a Not-Know-Where that may take them to Africa or somewhere utterly unanticipated. We can find other versions of this ambiguous travel in Gayl Jones’s drama, The Ancestor: A Street Play (1975; 2020), and her novel, The Birdcatcher (1986; 2022)-and even in the works of Toni Morrison, whose novels show similar concern with what Saidiya Hartman calls “critical fabulation”: attempts to rethink history outside archives and beyond maps.

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1 Acta Asiatica Varsoviensia

1 Review of International American Studies

1 Kelley W.

1 Ramos A.

2 2024

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Cinematic Narratives of Macau: Foreign Perspectives and Portuguese Portrayals

"Gayl Jones and Travel No-Where"