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The eighth session of the cycle dedicated to Manoel de Oliveira's experience as a spectator, with films and filmmakers that were important to him as a cinephile.
LA CHASSE DU LION À L'ARC
Jean Rouch | FRA | 1965 | 80'
Set on the border between Niger and Mali, Lion Hunting is one of the greatest examples of the ethnographic cinema that Jean Rouch developed for much of his career. Rouch takes the point of view of the African tribe, documenting their way of life, hunting rituals, relationship with the elements, in short, their reality. Shot over seven years, the film is also a precious document that respectfully exposes the differences between the so-called civilisation and the environment it portrays. Considered by Manoel de Oliveira to be the greatest figure in cinema, Jean Rouch constructs Lion Hunting to the Bow as "a leap towards a realistic and critical view of Europe, not seen from the side of civilisation, but precisely civilisation seen from their side" (Manoel de Oliveira, Ditos e Escritos, Serralves Foundation, p. 231).
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The eighth session of the cycle dedicated to Manoel de Oliveira's experience as a spectator, with films and filmmakers that were important to him as a cinephile.
LA CHASSE DU LION À L'ARC
Jean Rouch | FRA | 1965 | 80'
Set on the border between Niger and Mali, Lion Hunting is one of the greatest examples of the ethnographic cinema that Jean Rouch developed for much of his career. Rouch takes the point of view of the African tribe, documenting their way of life, hunting rituals, relationship with the elements, in short, their reality. Shot over seven years, the film is also a precious document that respectfully exposes the differences between the so-called civilisation and the environment it portrays. Considered by Manoel de Oliveira to be the greatest figure in cinema, Jean Rouch constructs Lion Hunting to the Bow as "a leap towards a realistic and critical view of Europe, not seen from the side of civilisation, but precisely civilisation seen from their side" (Manoel de Oliveira, Ditos e Escritos, Serralves Foundation, p. 231).
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