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An Analysis of Miguel Gomes' Oeuvre

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An Analysis of Miguel Gomes' Oeuvre Divided Hybrids: An Analysis of Miguel Gomes’ Oeuvre Francisco Vergueiro Martins Fontes 11689986 Date: 26/06/2018 Supervisor: Dr. Abraham Geil Second Reader: Dr. Marie-Aude Baronian Media Studies: Film Studies University of Amsterdam Table of Contents Introduction 03 Chapter 1: Foundations - Shorts & The Face You Deserve 06 Chapter 2: Recognitions - Our Beloved Month of August 15 Chapter 3: Recollections - Tabu 24 Chapter 4: Dreams - Arabian Nights 33 Conclusion 45 Bibliography 47 Filmography 48 List of Illustrations 49 !2 Introduction Documentaries and fiction films have been intertwining since 1895, when we first saw moving images of workers leaving the Lumière factory. This hybridization of registers has been explored since the very start but, like most aspects of our day-to-day, it is an idea that is constantly evolving and reinventing itself. This reinvention of ideas can be compared to André Bazin’s belief that cinema was yet to be invented (Myth 17) - a statement that can still be considered true when analyzing the development and eventual reinvention of specific filmmaking methods. The essential difference is that, while Bazin believed cinema was trying to catch up to the myth of its total enactment - in order to eventually reach an end result - in this case cinema continues to be “invented” due to its openness for experimentation - one without an end. The Portuguese critic-turned-director Miguel Gomes is behind a body of work that is distinctive in how it shifts between documentary and narrative filmmaking techniques, helping with this slow “invention” of the seventh art through formal experimentation. Strongly, but not exclusively, due to his mixture of techniques, his oeuvre is also firmly linked to realism, keeping such theories relevant, and as contemporary as his own work. His movies should for such reasons, and many more, be analyzed and considered with care. With Miguel Gomes’ oeuvre as my case study, I intend to investigate how the somewhat paradoxical dualities presented in movies that hybridize the filmmaking methods often linked to fiction films to those linked to documentaries reinforce the realities of what they depict, using the theories of figures like Bazin and Kracauer regarding film realism as a basis for part of it. In order to reach an answer to this question, steps need to be taken to first understand how his collected directorial trademarks would place him within the spectrum of an auteur, how his use of non-actors actively link reality and fiction, what is the role of memory in the perception of reality, and how his evaluation of the current Portuguese socio-political situation creates documentaries out of fictions (and vice-versa). In his short career, Gomes has produced a number of shorts and four features - The Face You Deserve (2004), a fairytale-like story of a man who is coming to terms with reaching his 30s, Our Beloved Month of August (2008), a true hybrid that explores rural Portugal’s citizens and their traditions, Tabu (2012), an homage to cinema’s silent era about infidelity and its consequences in a Portuguese colony in Africa, and Arabian Nights (2015), a six-hour triptych epic that humorously but poignantly comments on the Portuguese economic crisis. All of these will be analyzed with different purposes for this research, culminating in an overall understanding of the ideas behind his filmography which, collectively, results in a unique and thought-provoking oeuvre. Through a formalist analysis, where specific scenes and moments will be read in detail regarding either their editing, narrative, or production aspects, each one of Gomes’ features will help with an aspect of the answer to the main question regarding the connections of hybrid films and realism, and his overall contribution to film history through the perspective of a modern auteur. !3 In tracing the trajectory of his work, this thesis will construct a narrative that interweaves his evolution as a filmmaker and how different theories could be applied to read his oeuvre contextually. While my focus is not on Gomes’ role within a national cinema, I will at moments contextualize the history and position of Portuguese cinema within the global market, thus centralizing the environment in which he works without necessarily evaluating the way his surroundings influence his filmmaking in one way or another. Letting this side of it looser, I intend to free his filmography from such constraints and responsibilities. While his movies deal directly with the reality in Portugal, from its colonizing history in Tabu, its traditions in Our Beloved Month of August, and its politics in Arabian Nights, I believe that Gomes does not think of his work as bound to the country itself. Similarly, while I will consider the aspects that could label him as an auteur, my goal is not to bind his work within such a category. However, as I am analyzing his career in terms of recurring themes and techniques, it’s hard to escape this dimension of it. Gomes himself is a great believer in the interaction of the audience with his movies, always constructing them in ways that give the spectator more freedom to comprehend them in their own ways, getting what they find valuable, and so creating a series of different understandings. If he goes as far as giving his audience such freedom, it would be unfair to systematically pinpoint his career. While my analysis will reach a final conclusion, I hope such conclusion to be fluid, and only one within many that could be gathered from a theoretic and analytical understanding of an oeuvre. While I am confident that such a research could lead to revelatory findings that could hopefully present the work of Miguel Gomes to a larger audience, my main goal is to elucidate his formal inventiveness as a director working in the industry today, and not how he is one thing and one thing only. For such, steps need to takes to slowly understand his career, as described below. Chapter One will focus on the start of his career, and how slowly, through his short-movies, he built a repertoire of techniques and ideas that lead up to his first feature, The Face You Deserve. With that, I will consider how and to what extent he can be considered an auteur, guided by Dudley Andrew’s views on the position of the modern auteur today. Chapter Two will be an extended analysis of Gomes’ second feature, the one that put him on the map of world cinema. As Maya Deren suggests, realism in film requires “of its subject matter, only that it exist; and of the audience, only that they can see” (60). This specific concept, that makes no distinction between documentary and fictional truths is of particular use in my analysis of the impact of hybrids within the discussion of realism, particularly concerning Our Beloved Month of August. Also instrumental for a reading of this particular title, but further applied at different moments, will be Jacques Rancière’s considerations on the legacies of documentary and fiction filmmaking, particularly due to how he understands cinema as “the combination of the gaze of the artist who decides and the mechanical gaze that records, of constructed images and chance images” (161). Reading it through the lenses of Rancière, which in turn are discussed by Nico Baumbach, I will analyze how the film mixes fiction and documentary between and within its own divided structure. !4 As the discussion of realism in film is a long and diverse one, I intend to focus mainly on thoughts brought up by classical film theorists. André Bazin and Siegfried Kracauer find themselves among such a group, and will be the starting point of Chapter Three. Their opposing views concerning film realism, given Bazin’s belief that film was the closest men could get to finally satisfy their obsession with reality (Ontology 6), and Kracauer's description of the photographic image as a “jumble that consists partly of garbage” (Photography 426), will allow me to argue how Gomes is capable of juggling such ideas while keeping them at play in the present aesthetic, political, and historical moment. By comparing photographs with memory-images, Kracauer argues how the latter is more reliable, as it acts on the realms of space and time, much like the moving image. This argument will also be instrumental for my analysis of Tabu, given the way that it presents its second half as a stream of mnemonic consciousness. This title will be the focus of Chapter Three, and will be read through its exploration of recollections and memories, and how it inwardly speaks of realism with its characters and outwardly explores the history of film itself - ideas that I relate back to Kracauer, Bazin, and others who have dealt with realism in film - such as Maya Deren. To conclude, Chapter Four will focus on all three parts of Gomes’ latest, Arabian Nights. Olga Kourelou, Marina Liz, and Belén Vidal’s collective article on the impact of the European economic crisis on the artistic output of Portugal, Spain, and Greece will give a background to my understanding of this title, along with eventual comparisons to Portugal’s film production history. The trilogy will collectively be analyzed through its oneiric images and contrasting direct relation to the present political situation in Portugal, focusing on the way that the movie was conceived and produced - which took Gomes’ usual interplay of fiction and documentary all the way back to the film’s pre-production. On top of that, Bazin’s psychoanalysis of the visual arts’ will be used throughout the whole research, as his views on arts’ need to vanquish time can guide a whole reading of Tabu, and his understanding that film eliminated the distinction between the imaginary and the real is relevant for both Our Beloved Month of August and Arabian Nights.
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