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No contexto da luta pela independência da Guiné-Bissau e de Cabo Verde,
Amílcar Cabral e o PAIGC enviaram para Cuba quatro jovens Bissau-guineenses para
estudar cinema. Para Cabral, as manifestações de resistência não pretendiam apenas
destruir algo, mas também, simultaneamente, construir algo novo e assumiam quatro
formas complementares: política, económica, cultura e armada. Para o líder do
movimento independentista, o cinema teria um papel importante na resistência cultural e
na construção de alternativas ao olhar colonialista português. O jovem Amílcar Cabral
sabia que as imagens “descolonizadas” seriam importantes na mobilização dos
guineenses na luta pela independência, na divulgação internacional das pretensões
guineenses e, em último caso, na disponibilização para “o povo português” de uma outra
versão da história que fosse diferente da vinculada pelo aparelho propagandístico do olhar
colonial. O objetivo deste texto será partir da célebre máxima de Cabral (« nação africana
forjada na luta »; Cabral, 1974) para refletir sobre o contexto de emancipação de um olhar
cinematográfico na Guiné-Bissau e do seu contributo para o processo de construção de
uma suposta identidade nacional a partir deste diálogo com o cinema latino-americano na
sua relação com o contexto geopolítico e ideológico da dicotomia Este-Oeste que marcou
a segunda metade do século XX.
In the context of the struggle for Guinea-Bissau and Cape Verde independence, Amílcar Cabral and PAIGC sent four young Bissau-Guineans to Cuba to study cinema. For Cabral, demonstrations of resistance were not only intended to destroy something, but also simultaneously to construct something new and take on four complementary forms: political, economic, cultural and armed. For the leader of the movement for independence, cinema would play an important role in cultural resistance and in the construction of alternatives to the Portuguese colonialist gaze. The young Amílcar Cabral knew that the “decolonized” images would be important in the mobilization of the Guineans in their struggle for independence, in the international dissemination of the pretensions of Guinean and, in the last case, the provision to the “Portuguese people” of another version of history that was different from that linked by the propaganda apparatus of the colonial gaze. The purpose of this text will be to start from the famous maxim of Cabral (« African nation forged in the struggle »; Cabral, 1974) to reflect on the context of emancipation of a cinematographic gaze in Guinea Bissau and his contribution to the process of building a supposed national identity from this dialogue with Latin American cinema in its relation to the geopolitical and ideological context of the East-West dichotomy that marked the second half of the 20th century.
In the context of the struggle for Guinea-Bissau and Cape Verde independence, Amílcar Cabral and PAIGC sent four young Bissau-Guineans to Cuba to study cinema. For Cabral, demonstrations of resistance were not only intended to destroy something, but also simultaneously to construct something new and take on four complementary forms: political, economic, cultural and armed. For the leader of the movement for independence, cinema would play an important role in cultural resistance and in the construction of alternatives to the Portuguese colonialist gaze. The young Amílcar Cabral knew that the “decolonized” images would be important in the mobilization of the Guineans in their struggle for independence, in the international dissemination of the pretensions of Guinean and, in the last case, the provision to the “Portuguese people” of another version of history that was different from that linked by the propaganda apparatus of the colonial gaze. The purpose of this text will be to start from the famous maxim of Cabral (« African nation forged in the struggle »; Cabral, 1974) to reflect on the context of emancipation of a cinematographic gaze in Guinea Bissau and his contribution to the process of building a supposed national identity from this dialogue with Latin American cinema in its relation to the geopolitical and ideological context of the East-West dichotomy that marked the second half of the 20th century.
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Cinema Revolução Guiné-Bissau Terceiro cinema Descolonização Revolution Guinea-Bissau Third cinema Decolonization . Faculdade de Artes e Humanidades
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Universidade da Madeira