Filme, espelho e caleidoscópio: infância, nulificação, docilidade e medo em Aniki-Bóbó, de Manoel de Oliveira

Abstract

Despite the lack of tradition of Portuguese cinematographic history and sociology that is, the low number of works which take an historic approach to a given movie we will turn our focus in this text to the movie Aniki-Bóbó (1942), analysing it through an historic, cultural and social lens. However many references to the film in newspapers, journal articles and book, Aniki-Bóbó is almost always placed among other Portuguese films, towards one end or another, as a group or with a panoramic view. Therefore, in approaching Manoel de Oliveiras iconic movie, this article seeks to answer, at the same time, a void in historiography, and a need to understand the film as text, inscribed in the society in which it was produced, laden with identities, histories, and social belongings.