Montage and city: Lisbon in cinema

“We know that cinema contributes creatively and actively in the processes of individual perception and apprehension of space, or rather, in this case, of a city. Matter of debate and criticism, at least for a century, the affinities between film and architecture, between “Montage and City”, have shown themselves as resonant or dissonant. Functioning as an effective narrative device of observation and reception, cinema brings out both the real and the imaginary ‘topos’, thus creating a new geography. In this work, film properties are increased by other kinematics, or in addition, from the moving images to the moving of the motion images. From the ‘corpus’ of the research and the following analysis associated with urban and filmic objects of study, we place intervals between the abovementioned subject areas (cinema and architecture) and, with them, aim at demonstrate the power that montage has through space. Being the ‘corpus’ the analysis (and totality) of all the long feature film that had were shooted and filmed in Lisbon or may have represented the city in some way, we were interested in comparing the form, genre and scale that had, at some point, tried to organise a vision (though partial and meticulous) of the city of Lisbon. Out of 479 feature films premiered between 1918 and 2012, our investigation evolved and developed not only based on the extension but also within the intention found in the camera movement and the shots and plans that resulted from their montage. As a result we have identified a persistent migration of cinematic culture to architectural discourse, just like and edited plan/shot point us to another planned version of the city. Through aerial shots, traveling and panorama movements, “Lisbon in Cinema” has been built as a plausible illusion and with concerning characteristics that, although not untrue, are profoundly historic and documental. Assuming that these works will not be analyzed in its entire length or complexity, we admit that the core of this investigation goes carefully and throughfully into the cut and collage, into the interval and movement”.

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João Ricardo Rosmaninho Duarte Silva | Orientadores: Francisco Manuel Gomes Costa Ferreira & Paulo Filipe Monteiro