Author(s): Cucinotta, Caterina
Date: 2022
Persistent ID: http://hdl.handle.net/10362/142930
Origin: Repositório Institucional da UNL
Project/scholarship: info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDB%2F04209%2F2020/PT; info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDP%2F04209%2F2020/PT;
Subject(s): Portuguese cinema; Costume design; Genetic criticism; Creative processes; Process documents
This article presents the concept of genetic criticism as it reflects upon the artistic processes intrinsic to filmmaking. More specifically, it sheds light on some of the costume design and art direction practices observed in Portuguese cinema. In an effort to posit a theoretical model that fits this sphere of practice, it focuses on a specific film, an individual art director and a range of corresponding preproduction materials, to elucidate the process of materialisation that starts with the script and ends with some form of physical appearance inside the frame. Accordingly, a range of materials has been selected, all conceived by Isabel Branco for Raúl Ruiz’s “Mysteries of Lisbon” (2010). Genetic criticism’s approach to filmmaking presupposes a reevaluation of the final cut as the only conceivable art object, inasmuch as its methodology implies the investigation of creative process and creators’ motivations. With genetic criticism, time and movement become key concepts for the understanding of filmmaking processes.
