Cinematic Walls: Pedro Costa’s Mural Imagination

Estela Vieira

Abstract


This essay offers a reading of Pedro Costa’s first feature-length film, O sangue (1989). It explores the representation of different sorts of walls, their semantic inferences and functions, arguing that Costa's "mural imagination" speaks to the limits—or perceived limitlessness—of contemporary filmmaking. I show that in O sangue, walls emerge as tools for defining realism and its relation to cinema. Beyond this, they work as rhetorical strategies to interrogate the threshold between fact and fiction and between socio-political realities and artistic filmmaking. For Costa, walls emphasize the authenticity of fictional worlds and highlight the ways in which audiences relate to the realities and communities represented on screen.

Keywords


O sangue; Denis Diderot; Georg Simmel; symbolism of walls; limits in cinema

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DOI: http://dx.doi.org/10.21471/jls.v2i1.142

Copyright (c) 2017 Estela Vieira