According to the director, Douro was inspired by an image he had seen in another film: the taut chain of an anchored boat resisting the strong currents of a river. The image's power and beauty reminded him of the banks of the Douro, with its intense activity of boats arriving and departing, loading and unloading merchandise. Oliveira apparently had little interest in documentary until he saw Ruttmann's Berlin: Die Sinfonie der Großstadt (Berlin: Symphony of a Great City, 1927), which he has referred to as “the most useful lesson in film technique” that he had ever seen. At the same time, he found Ruttmann's film rather cold and mechanical, lacking in a humanity that later films by the German director possessed. It was the humanity that existed along the Douro that Oliveira was interested in revealing.
In an extensive interview granted to Antoine de Baecque and Jacques Parsi, Manoel de Oliveira refers to Douro as an experiment with cinematic specificity, the multiplicity of perspectives, and with the montage theories that were circulating at the time. The film is an exercise in light, shadows, rhythm, and changing camera-angles, evoking the urban transformations provoked by the inexorable process of modernisation. The key dramatic sequence, in which an ox-cart knocks a man down, is provoked when the driver of a car, distracted by an airplane flying overhead, backs into the cart, causing the ox to panic. This sequence, one of several fictional moments in the documentary, offers an early indication of the kind of cinematic hybridity that would later characterise much of Oliveira's work.
http://www.sensesofcinema.com/contents/ ... veira.html
Tamaño: 175 MB
Duración: 00:18:04
Resolución: 576x416
Bitrate vídeo: 1259 kbps
Bitrate audio: 87 kbps
Códec: Xvid
Enlace:
douro, faina fluvial-manoel de oliveira.avi 
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