the aim of (Re)Imagining African Independence. Film, Visual Arts and Fall of Portuguese Empire is not to undertake an exhaustive survey and analysis of the filmic and audio-visual materials related to the Portuguese post-colonial situation. This collection of essays proposes, more modestly, and first of all, to contribute to a better knowledge of political propaganda films shot during and straight after the liberation wars. Shot by African and foreign filmmakers in different contexts and according to different agendas, these films allow us to explore such diverse questions as how the liberation struggles and Portuguese colonialism were envisaged according to opposing cold-war and geopolitical rhetorics, or how the newly independent countries imagined themselves as nations.
Permanecemos incapazes de escutar e compreender o diálogo entre uma androide ameríndia e o milho transgénico – a quem pertence a humanidade, afinal de contas? Para a coexistência destas diferentes cosmologias – modernas, animistas ou tecnofílicas – não existe sonho ou ficção capaz de as apreender num todo, apenas a perceção de que o mundo lhes dá lugar incessantemente e que a posição de inimigo, mais do que a natureza ou a cultura, marca as suas fronteiras.
Miranda’s work is deeply marked by family memories and experiences and, more broadly, by the collective histories of Portugal and Angola. In Panorama, her focus on the psychic and physical remnants of several pasts – colonial, post-independence, post-Cold War, post-civil war – within natural, urban and architectural landscapes of Luanda and beyond serves the larger purpose of examining the contradictions of the present and imagining alternative futures.
the aim of (Re)Imagining African Independence. Film, Visual Arts and Fall of Portuguese Empire is not to undertake an exhaustive survey and analysis of the filmic and audio-visual materials related to the Portuguese post-colonial situation. This collection of essays proposes, more modestly, and first of all, to contribute to a better knowledge of political propaganda films shot during and straight after the liberation wars. Shot by African and foreign filmmakers in different contexts and according to different agendas, these films allow us to explore such diverse questions as how the liberation struggles and Portuguese colonialism were envisaged according to opposing cold-war and geopolitical rhetorics, or how the newly independent countries imagined themselves as nations. 
Permanecemos incapazes de escutar e compreender o diálogo entre uma androide ameríndia e o milho transgénico – a quem pertence a humanidade, afinal de contas? Para a coexistência destas diferentes cosmologias – modernas, animistas ou tecnofílicas – não existe sonho ou ficção capaz de as apreender num todo, apenas a perceção de que o mundo lhes dá lugar incessantemente e que a posição de inimigo, mais do que a natureza ou a cultura, marca as suas fronteiras. 
Miranda’s work is deeply marked by family memories and experiences and, more broadly, by the collective histories of Portugal and Angola. In Panorama, her focus on the psychic and physical remnants of several pasts – colonial, post-independence, post-Cold War, post-civil war – within natural, urban and architectural landscapes of Luanda and beyond serves the larger purpose of examining the contradictions of the present and imagining alternative futures. 
