Fantasmas da escrita: Amor de perdição e o cinema epistolar de Manoel de Oliveira

  • Clara Rowland Universidade Nova de Lisboa
Keywords: Epistolarity, writing in film, temporality, authorship, adaptation


In the closing sequence of Manoel de Oliveira's Amor de perdição (1978), Teresa’s last letter to Simão Botelho reveals the phantasmagoric nature of the cinematographic image: in the posthumous temporality of its reading, Teresa enters the scene as an apparition, projected by writing and permitting the reunion, at last, of the lovers’ bodies—separated throughout the film—in the same shot. Through a detailed reading of the depiction of letters in Manoel de Oliveira’s adaptation of Camilo Castelo Branco's novel, and of its connections to other works by the Portuguese filmmaker, this paper explores the interplay between writing, image, and authorship in what has been termed Oliveira’s "epistolary cinema"and its relevance for a redefinition of the role of writing within his ideas regarding film.

Author Biography

Clara Rowland, Universidade Nova de Lisboa

Clara Rowland is Associate Professor in the Department of Portuguese Studies at Universidade Nova de Lisboa. Her main areas of research are Brazilian Literature, Interart and Comparative Studies, focusing on issues of representation and materiality. Her work on the book as a material object in the fiction of João Guimarães Rosa was published in Brazil (A forma do meio, Unicamp, 2011). She co-edited, with Tom Conley, the volume Falso movimento: ensaios sobre escrita e cinema (Cotovia, 2016), and with José Bértolo A escrita do cinema: ensaios (Documenta, 2015).