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THE METAMORPHIC ARCHITECTURE BETWEEN LITERATURE and CINEMA – Interview with FERNANDO GUERREIRO Suzana Ramos/Translation by Ana Filipa Vieira

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THE METAMORPHIC ARCHITECTURE BETWEEN LITERATURE and CINEMA – Interview with FERNANDO GUERREIRO Suzana Ramos/Translation by Ana Filipa Vieira REVISTA ANGLO SAXONICA SER. III N. 7 2014 A NNGLO SAXO ICA ANGLO SAXONICA SER. III N. 7 2014 DIRECÇÃO / GENERAL EDITORS Isabel Fernandes (ULICES) João Almeida Flor (ULICES) Mª Helena Paiva Correia (ULICES) COORDENAÇÃO / EXECUTIVE EDITOR Teresa Malafaia (ULICES) EDITOR ADJUNTO / ASSISTANT EDITOR Sara Paiva Henriques (ULICES) REVISÃO DE TEXTO / COPY EDITORS Ana Daniela Coelho (ULICES) Igor Furão (ULICES) Sara Paiva Henriques (ULICES) GUEST EDITORS Lucy Fischer Cecilia Beecher Martins José Duarte EDIÇÃO Centro de Estudos Anglísticos da Universidade de Lisboa University of Lisbon Centre for English Studies DESIGN, PAGINAÇÃO E ARTE FINAL Inês Mateus IMPRESSÃO E ACABAMENTO Europress - Indústria Gráfica TIRAGEM 150 exemplares ISSN 0873-0628 DEPÓSITO LEGAL 86 102/95 PUBLICAÇÃO APOIADA PELA FUNDAÇÃO PARA A CIÊNCIA E A TECNOLOGIA Special issue on Changing Times: Performances and Identities on Screen Guest Editors Lucy Fischer, Cecilia Beecher Martins and José Duarte Número especial sobre Tempos de Mudança: Desempenhos e Identidades no Grande Ecrã Editores convidados Lucy Fischer, Cecilia Beecher Martins e José Duarte CONTENTS/ÍNDICE CINEMA STUDIES CHANGING TIMES: PERFORMANCES AND IDENTITIES ON SCREEN ACKNOWLEDGEMENTS Cecilia Beecher Martins and José Duarte . 13 INTRODUCTION Lucy Fischer . 15 REPRESENTATIONS OF HEROISM: MEDIEVAL AND POST-MEDIEVAL HEROES ‘CAPTAIN HOOD’ OR ‘THE FOREST HAWK’: ROBIN HOOD (DIS)PLAYED BY ERROL FLYNN (1938) Miguel Alarcão . .26 PERFORMING BRITISH IDENTITY: ARTHUR ON SCREEN Angélica Varandas . 37 KNIGHTS’ TALES: LOOKING AT THE REPRESENTATIONS OF THE KNIGHT ON FILM Ana Rita Martins . .57 LAWRENCE OF ARABIA (1962): A TRAGIC HERO IN AN EVER-LASTING QUEST Isabel Barbudo . .75 CROMWELL (1970): A GOD-SENT HERO IN A TIME OF REVOLUTION J. Carlos Viana Ferreira . 89 CULTURAL POLITICS AND IDENTITY MARIA PAPOILA, AN(OTHER) IDEOLOGICAL LESSON FROM THE ESTADO NOVO Cândida Cadavez . 105 LONG NIGHT’S JOURNEY INTO DAY: MAPPING THE REHABILITATION OF SOUTH AFRICA’S FRACTURED SOCIETY Paula Horta . 117 8 REVISTA ANGLO SAXONICA REDEEMING THE OLD SOUTH IN DAVID O. SELZNICK’S GONE WITH THE WIND Edgardo Medeiros Silva . 133 IDENTITY AND OTHERNESS IN FORREST GUMP: A CLOSE-UP INTO TWENTIETH-CENTURY AMERICA Fernanda Luísa Feneja . 155 TIME, GENDER, IDENTITY AND PERFORMANCE GOING BACK TO THE PAST TO DREAM OF THE FUTURE: WOODY ALLEN’S MIDNIGHT IN PARIS AND IN SPIELBERG’S LINCOLN Maria Teresa Castilho . 175 CENTRING THE MARGINS: THE PLAY OF IDENTITY IN THE WORK OF TIM BURTON Elsa Maurício Childs . 187 REGENDERING ‘CINDERELLA’ ON SCREEN: ANDY TENANT’S EVER AFTER: A CINDERELLA STORY Alexandra Cheira . 203 LITERATURE AND ADAPTATION IT IS A TRUTH UNIVERSALLY ADAPTED: TWO CINEMATIC APPROACHES FOR THE OPENING OF JANE AUSTEN’S PRIDE AND PREJUDICE Libby Bagno-Simon . 219 FAITHFUL TO A FAULT? JOSEPH STRICK’S A PORTRAIT OF THE ARTIST AS A YOUNG MAN Mick Greer . 235 SHAPING VISUAL IDENTITIES IN ART: THE FRENCH LIEUTENANT’S WOMAN IN LITERATURE AND FILM Aleksandra V. Jovanoviĉ . 251 LANDSCAPES AND THE UNCONSCIOUS SOCIAL ORDER AND SUBCONSCIOUS DISORDER: THE GOTHIC AESTETHICS OF DAVID LYNCH Graça P. Corrêa . 267 DARKNESS, ASHES AND SNOW: DEADLY FEMALE LANDSCAPES IN JOHN HILLCOAT’S THE ROAD AND SYLVIA PLATH’S POETRY Elisabete Cristina Lopes . 281 FEATURING CARDIFF IN PIZZAMAN: REPRESENTATION, IDENTITY AND STEREOTYPING Ana Gonçalves . 295 VIVA LAS VEGAS! CITY, STAGE AND CITY-STAGE IN FRANCIS FORD COPPOLA’S ONE FROM THE HEART Hermínia Sol and Luísa Sol . 309 CONTENTS/ÍNDICE 9 FILMING TRANSCENDENCE IN THE 21ST CENTURY XAVIER BEAUVOIS AND TERRENCE MALICK: TWO CINEMATOGRAPHIC ATTEMPTS AT REVELATION Teresa F. A. Alves . 325 TECHNOLOGY THE SUBALTERN CONDITION OF DIGITAL VIDEO Felippe Martin . 357 THE BITS AND PIECES OF THE CINEMATOGRAPHER: THE DIGITALIZATION OF FINNISH CINEMATOGRAPHY Tahvo Hirvonen . 371 INTERVIEWS/DISCURSOS DIRECTOS A STRANGE KIND OF FEELING: CONFLICT AND ALLIANCE IN LITERATURE ON SCREEN – Interview with LÍDIA JORGE Suzana Ramos/Translation By Edgardo Medeiros Da Silva . 387 THE TRUTH OF THE CINEMATOGRAPH: THE METAMORPHIC ARCHITECTURE BETWEEN LITERATURE AND CINEMA – Interview with FERNANDO GUERREIRO Suzana Ramos/Translation By Ana Filipa Vieira . 391 THE TIMES THEY ARE A-CHANGIN: AN APPROACH TO CONTEMPORARY FILMMAKING – Interview with JOÃO MÁRIO GRILO Hermínia Sol/Translation By Rui Vitorino Azevedo . 395 Notes on Contributors /Notas sobre os Colaboradores . 399 CINEMA STUDIES Changing Times: Performances and Identities on Screen Acknowledgements he following essays arise from a selection of papers that were presented at the International Conference on cinema Changing Times: Performances and Identities on Screen held at the Faculty T th th of Letters, University of Lisbon from 7 to 9 November 2012. It was organized by Cecilia Beecher Martins, Suzana Ramos and José Duarte, researchers at the University of Lisbon Centre for English Studies (ULICES). While the Conference was organized by the American Studies Research Group, because the role cinema has played in forming and trans - mitting concepts of American culture is indisputable, it also arose out of a desire to offer an interdisciplinary space of discussion for researchers of other Researh Groups of ULICES also devoted to Cinema Studies, as well as teachers, students, independent scholars and professionals associated with the cinema industry. The universal appeal of cinema today offers increasing opportunities for reflection on the influences of the seventh art on society. Cinema is not merely an element of a vast entertainment industry, but an art form capable of shaping generations, and presenting alternative ways of seeing and being in the world. In addition, the influences it has exerted on historic, artistic and cultural expressions, on many occasions, resulting from perspectives offered by the cinéma d’auteur, must be considered. Our aspiration was fulfilled by the multiple proposals received from all over Europe, the US, Mexico, Japan, Australia and the Middle East from academics doing their research either in cinema studies, American studies or as professionals working in the cinema industry, and so the debate naturally extended beyond the Conference. We would also very much like to thank the Guest Editor of this volume, Lucy Fischer, Distinguished Professor of English and Film Studies at the University of Pittsburgh, for her editorial and peer review work. 14 REVISTA ANGLO SAXONICA She was generous with her time and her contribution led to an overall improvement of this issue. Also, we are indebted to Profs Teresa Alves and Teresa Cid, the Directors of the American Studies Research Group and Conference Directors for their advice and guiding throughout the process, which were both invaluable. We would also like to thank Lídia Jorge, João Mário Grilo and Fernando Guerreiro for graciously accepting to be interviewed, and we are indebted to Suzana Ramos, Hermínia Sol, Edgardo Medeiros da Silva, Ana Luísa Vieira and Rui Vitorino Azevedo for carrying out the interviews and their translations. Finally, the conference and this volume would not have been possible without the support of many institutions, including the Faculty of Letters University of Lisbon, the American Embassy, Fundação Luso-Americana/ Luso-American Foundation (FLAD) and the Irish Association. We would like to thank our sponsors for their support and generosity. Cecília Beecher Martins and José Duarte Introduction Lucy Fischer University of Pittsburgh ISSN: 0873-0628ANGLO SAXONICA SER. III N. 7 2014 Introduction he theme of this issue of Anglo Saxonica is a very broad one: Changing Times: Performances and Identities on Screen. The Tnotion of “changing times” of course emphasizes how temporality is forever in flux, a movement and progression that transforms all identities in its wake — be they performed by individuals, nations, or media forms. That this topic should be investigated through the lens of a time-based art like cinema seems especially appropriate. The subject also is particularly relevant in an age when the nature of film itself is being questioned. Articles regularly assert “the end of cinema” but in general they mean only the demise of celluloid, not of the “movies” which continue to engage audiences whether on computer screen, cell phone, or television — whether projected digitally in a theater, downloaded from YouTube, or streamed to some device. For as Lev Manovich has noted “despite frequent pronouncements that cinema is dead, it is actually on its own way to becoming a general purpose cultural interface, a set of techniques and tools which can be used to interact with any cultural data.”1 Under the rubric of New Media, cinema studies now attempts to reshape its own identity — linking the trajectory of traditional film history to cutting edge formats and methodologies. Some of the essays in this volume directly address this technological shift, be it the relative status of “elite” film versus “subaltern” video, or the role of the cinematographer in this Brave New World. Other articles tackle the issue of time itself, as refracted onscreen. As André Bazin famously noted, cinema is a means of “mummifying” the 1 Lev Manovich. “Cinema as a Cultural Interface.” [Available at http://manovich.net/ TEXT/cinema-cultural.html] 18 REVISTA ANGLO SAXONICA past by capturing lived bodies at a particular moment — preserving their image in the face of death.2 But, through the popular genre of historical spectacle, movies have also favored looking back at history by dramatizing the past (with varying degrees of accuracy),
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