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A produção e programação audiovisual pelo exército português no contexto das guerras coloniais (1965-1973). A imagem como elemento difusor e construtor de um regime politico-colonial
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Partindo da análise e compreensão do que foram os fundamentos ideológicos e políticos do Estado Novo Português pesquisou-se como é que o cinema, especialmente o programado e produzido pelos militares, contribuiu para a construção de uma imagem colonial. Analisando o que foi programado, produzido e exibido em campanha pelo Exército, procedeu-se a uma busca sobre a ideia, ou a sua ausência, do que se pretendia construir através dessa programação e produção no âmbito da motivação para a guerra e de divulgação dos pontos cardeais da propaganda colonial. Posteriormente caracterizamos o que foram as ações psicossociais levadas a cabo pelo exército no contexto das guerras coloniais e as imagens, nomeadamente cinematográficas, produzidas e/ou usadas neste contexto, procurando-se aferir do seu contributo para a criação de uma comunidade imaginada segundo os cânones da ideologia colonial. Tendo como metodologia olhar para além do ponto de vista e enquadramento da cinematografia oficial, procurando outros eixos do olhar, revendo em “slow motion”, analisando a materialidade do próprio produto fílmico, as suas formas e circuitos de distribuição, buscamos os sintomas ocultos que denunciam a construção ideológica, os preconceitos raciais e as estruturas de poder que se encontram dissimuladas.
Propomos ainda uma leitura para perceber a ligação entre a retórica (fílmica) de massas fascista, a estética nazi, a “política do espirito” e o luso-tropicalismo (nomeadamente nos seus elementos icónicos, simbólicos e consequente discurso semiótico) com as referências ideológicas do Estado Novo e como isso se traduziu na construção do imaginário colonial.
Concluiu-se que havia a consciência, por parte dos militares, da importância do cinema na propaganda e consequente construção da imagem colonial imaginada pelo regime, nomeadamente através do luso-tropicalismo cujos elementos icónicos foram amplamente usados, mas concretizado por uma estratégia muitas vezes inconsequente.
Starting from the analysis and understanding of what were the ideological and political foundations of the Portuguese “Estado Novo”, we investigate how cinema, especially the one programmed and produced by the military, contributed to the construction of a colonial image. By analyzing the cinema that was programmed and produced in a colonial context, we search for the idea, or its absence, that was intended to be built through its exhibition as part of the general purpose of motivating for the war and spreading the cardinal items of colonial propaganda. Characterizing what were the psychosocial actions carried out by the army in the context of colonial wars and the images, particularly cinematographic, that were produced and / or used in this context, we thrive to understand their contribution to the creation of a community imagined according to the canons of colonial ideology. Having as methodology looking beyond the point of view of official cinematography, searching for other framings, reviewing in slow motion, analyzing the materiality of the film product itself, its forms and distribution circuits, etc., we look for hidden symptoms that betray the ideological and racial construction and its hidden structures of power. In proposing a way of reading in order to perceive the connection between Fascist mass rhetoric, Nazi aesthetics, "politics of the spirit" and Lusotropicalism (especially in its iconic, symbolic elements and consequent semiotic discourse) we suggest how this was translated to the colonial imaginary. As final conclusions emerge the fact that the military where full aware of the importance of cinema in the propaganda process, and, as so, in the construction of the colonial image imagined by the regime, mainly widely using the iconic elements of Lusotropicalism, but with a strategy that has been mostly inconsequent.
Starting from the analysis and understanding of what were the ideological and political foundations of the Portuguese “Estado Novo”, we investigate how cinema, especially the one programmed and produced by the military, contributed to the construction of a colonial image. By analyzing the cinema that was programmed and produced in a colonial context, we search for the idea, or its absence, that was intended to be built through its exhibition as part of the general purpose of motivating for the war and spreading the cardinal items of colonial propaganda. Characterizing what were the psychosocial actions carried out by the army in the context of colonial wars and the images, particularly cinematographic, that were produced and / or used in this context, we thrive to understand their contribution to the creation of a community imagined according to the canons of colonial ideology. Having as methodology looking beyond the point of view of official cinematography, searching for other framings, reviewing in slow motion, analyzing the materiality of the film product itself, its forms and distribution circuits, etc., we look for hidden symptoms that betray the ideological and racial construction and its hidden structures of power. In proposing a way of reading in order to perceive the connection between Fascist mass rhetoric, Nazi aesthetics, "politics of the spirit" and Lusotropicalism (especially in its iconic, symbolic elements and consequent semiotic discourse) we suggest how this was translated to the colonial imaginary. As final conclusions emerge the fact that the military where full aware of the importance of cinema in the propaganda process, and, as so, in the construction of the colonial image imagined by the regime, mainly widely using the iconic elements of Lusotropicalism, but with a strategy that has been mostly inconsequent.
Descrição
Palavras-chave
Máquina analítica Cinema e propaganda Lusotropicalismo Política do espirito Filmes pessoais Ação psicológica Cinema ambulante Atualidades filmadas Documentários Imagem colonial Comunidades imaginadas Politics of the Spirit Lusotropicalism Cinema and propaganda Analytic machine Personal films Psychological action Touring cinema Newsreels Documentaries Colonial image Imagined communities