E eu, que não conhecia nada

Catarina Mourão's A Dama de Chandor gently depicts the life of one of Goa's last Lusophone aristocrats, Aida de Menezes Bragança, and shows her struggle to maintain her home and way of life as globalisation and the integration of Goa into India's mainstream sweep it away. Using the documentary typology developed by John Corner, I argue that A Dama de Chandor is structured so as to make the viewer identify with Aida and her struggle. There follows an in-depth discussion of some of the issues present and an interrogation of how expanding the contextual frame of reference of the film affects the pattern of identification A Dama de Chandor attempts to impose

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