期刊名称：Cinema : Journal of Philosophy and the Moving Image
电子版ISSN：1647-8991
出版年度：2014
期号：5
页码：140-156
出版社：New University of Lisbon
摘要：There are multiple narrative layers to Eccentricities of a Blond-haired Girl ( Excentricidades de uma Rapariga Loura , 2009). On one level there is the narrative of the film itself. Here, director Manoel de Oliveira uses elegant settings and images, sparse but highly stylized dialogue, and a series of temporal shifts to tell the story of a young man's struggle with lost love. As storyteller, Oliveira establishes Macário (Ricardo Trêpa) as a distraught protagonist and sets up a flashback pattern early on in the film. Yet there is another narrative layer to the film. It is Macário's. Within the wider landscape of Oliveira's work is the narrower frame of Macário's personal story. As Eccentricities of a Blond-haired Girl unfolds, Macário shares his story with Senhora (Leonor Silveira), the dignified lady seated next to him on the train. 1 By sharing his story Macário acts as a narrative pedagogue, and the train car — within which the two travel — acts as a sort of teaching and learning space. As the seatmates interact, and their conversation unfolds, the lady also becomes a pedagogue. With these aspects of the film in mind, three questions arise: What exactly makes Macário and Senhora narrative pedagogues. How do the travelers benefit from their pedagogical exchange. What are the implications of this exchange for the film itself. In this paper I aim to address all three of these questions.
