Monochrome Postmodernity: An Approach to the Use of Black and White Film in Tabu (Miguel Gomes, 2012)

Carolina Cuervo G

Abstract


What is the sense of making a monochrome film in 2012? It has been decades since black and white stopped being cinema's only option and became just one alternative, so shooting a fiction partly in 35 mms and partly in 16 mms in the twenty-first century is not a random decision. Using Marxism as a theoretical and methodological framework, this dissertation attempts a dual analysis through cultural studies and theory of film: on one hand, it will dig into the meaning conveyed by Tabu being filmed in black and white celluloid, and on the other, it will identify how this decision, intentionally or not, appears as a result of being a symbolic act socially grounded in a specific context: that of Portugal in times of late capitalism.

 


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