Registering the image of people to bring back to the people. Images by and for the revolution: Mozambique and the cinema
DOI:
https://doi.org/10.24310/Fotocinema.2018.v0i17.5111Keywords:
Mozambique, Revolution, Cinema, FRELIMO, Documentary, NarrativeAbstract
Only in two historical moments, film and revolution have assumed a symbiosis that has made them go together in a joint evolution. The first of these moments is well known: the Russian Revolution and the Soviet cinematographic avant-garde. The other historical moment is undoubtedly influenced by the previous one, but it is almost unknown and responds to the independence of Mozambique, the birth of this nation, which meant also the birth of Mozambican film. This film emerged as an instrument of education and ideological propaganda, closely indeed to the evolution of the country. This article focuses in the analysis of the evolution of that cinematographic and historical revolution and in the filmographies of two filmmakers linked to the history of Mozambican cinema: Licinio Azevedo and Margarida Cardoso; Azevedo develops a first role, and Cardoso the part of a privileged witness of the evolution of Mozambique's cinema, and of his transition from documentary to fiction. Both filmmakers present exciting filmographies about a cinematographic and historical revolution that deserves to be considered. Both represent crossed roads that speak of revolution, memory, failure and absence, through the construction of personal universes intertwined with the social and political history of Mozambique.Downloads
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