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Fantasmas da escrita: Amor de perdição e o cinema epistolar de Manoel de Oliveira
2017
Journal of Lusophone Studies
In the closing sequence of Manoel de Oliveira's Amor de perdição (1978), Teresa's last letter to Simão Botelho reveals the phantasmagoric nature of the cinematographic image: in the posthumous temporality of its reading, Teresa enters the scene as an apparition, projected by writing and permitting the reunion, at last, of the lovers' bodies—separated throughout the film—in the same shot. Through a detailed reading of the depiction of letters in Manoel de Oliveira's adaptation of Camilo Castelo
doi:10.21471/jls.v2i1.141
fatcat:t62udrbfwrhrdadyon2uycrcii