Contents

pp v-vi

Figures

pp vii-vii

Notes on Contributors

pp viii-xii

Acknowledgments

pp xiii-xiv

Introduction: Nonconformities and Unconventional, Unreal Liberties—The Cinema of João Pedro Rodrigues and João Rui Guerra da Mata

pp 1-12

Part 1 - Queer (Dis)Placements, Exquisite Bodies

pp 13-14

1 - Sculpting the Body, Sculpting History

pp 15-27

2 - The Injury: On Pathosformel in João Pedro Rodrigues’s Work

pp 28-40

3 - Love is Stronger than Death: João Pedro Rodrigues’s Two Drifters and the Ghost(s) of Manoel de Oliveira

pp 41-50

Part 2 - Cinematic Landscapes and Territories

pp 51-52

4 - Phantoms, Drifters, and Desiring Saints: Landscapes, Soundscapes, and Becoming-queer in the Films of João Pedro Rodrigues and João Rui Guerra da Mata

pp 53-65

5 - Queer Metamorphoses and Displacements in the Cinema of João Pedro Rodrigues and João Rui Guerra da Mata

pp 66-80

6 - Neo-Baroque Landscapes: João Pedro Rodrigues’s Docu-fictionand Ecosophical Kinships in The Ornithologist

pp 81-94

7 - Failure, Erasure, and Oblivion in João Pedro Rodrigues and João Rui Guerra da Mata’s Asian Trilogy: Red Dawn, The Last Time I Saw Macao, and Iec Long

pp 95-111

8 - Space and Memory: The Window as Freeze-frame

pp 112-130

Part 3 - Artistic Practices

pp 131-132

9 - New Frontiers in Art Direction: João Guerra da Mata’s Contribution to Portuguese Cinema as a Case Study

pp 133-145

10 - Other Landscapes: On the Expanded Cinema of João Pedro Rodrigues and João Rui Guerra da Mata

pp 146-158

Part 4 - Interview

pp 159-160

11 - Interview with João Pedro Rodrigues and João Rui Guerra da Mata

pp 161-175

Notes

pp 176-189

References

pp 190-200

Index

pp 201-215