Abstract

VIEGUER, Marcelo. El plano secuencia: Pedro Costa y la trilogía de Fontainhas. Trama comun. [online]. 2012, vol.16, n.2, pp.285-298. ISSN 1668-5628.

Since the sequence shot expressively appeared with Citizen Kane, this resource became synonymous with cinematic modernity. Neither that much nor that little, the use of the sequence shot, usually visible, is understood as formal maniera and a touch of virtuosity. With the Portuguese director Pedro Costa it is possible to understand how film criticism and theory favor aesthetic criteria rather than what is politically correct. With the production of the trilogy about Fontainhas, Costa has become one of the most important marginal directors in the last fifteen years. The recurrent use of the film sequence shot and his political persuasion through images run on the conditions of production and reception of contemporary cinema, with a clear intention to bring into the light of audiovisual stage the excluded areas of Lisbon, starting a long journey that begins in Fontainhas.

Keywords : Pedro Costa; Sequence shot; Cinema; Semiotics.

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