Academic literature on the topic 'Cinéma – Portugal – Histoire'
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Journal articles on the topic "Cinéma – Portugal – Histoire":
Pellerin, Agnès. "Représentations cinématographiques du passé colonial portugais : enjeux musicaux dans le film Fantômes d’un Empire (2020)." História: Questões & Debates 70, no. 1 (February 28, 2022): 118. http://dx.doi.org/10.5380/his.v70i1.82752.
Da Silva, Eurydice. "Au coeur des archives du SNI : le regard d’un organisme de l’État Nouveau sur le mouvement des ciné-clubs portugais." Revista de História da Sociedade e da Cultura 17 (December 22, 2017): 337–54. http://dx.doi.org/10.14195/1645-2259_17_15.
Morais, Ana Bela. "Censura ao erotismo e violência no cinema em Portugal (1968-1974)." Diálogos 26, no. 1 (April 13, 2022): 83–97. http://dx.doi.org/10.4025/dialogos.v26i1.62097.
Ramos, Alexandre. "Luanda e Sua Gente, Cidade Feiticeira: Representations of an Eternal Empire." Canadian Journal of History 56, no. 2 (August 1, 2021): 110–35. http://dx.doi.org/10.3138/cjh-56-2-2021-0029.
Basto, Maria-Benedita, Teresa Castro, Nuno Domingos, Carolin Overhoff Ferreira, Agnès Pellerin, Maria do Carmo Piçarra, Raquel Schefer, and Manuel Deniz Silva. "Fictions (post-)coloniales dans le cinéma portugais." Perspective, no. 1 (October 14, 2021): 79–102. http://dx.doi.org/10.4000/perspective.22749.
Paz, Ana Luísa. "Propaganda para uma educação da amizade ibérica: a visita oficial do Generalíssimo a Portugal em 1949 nas atualidades cinematográficas." História Unisinos 26, no. 3 (November 4, 2022): 562–75. http://dx.doi.org/10.4013/hist.2022.263.13.
Sampaio, Sofia. "Martins, Paulo Miguel, O Cinema em Portugal: Os Documentários Industriais de 1933 a 1985." Ler História, no. 62 (June 1, 2012): 199–206. http://dx.doi.org/10.4000/lerhistoria.628.
Liz, Mariana. "Women in Iberian Filmic Culture: A Feminist Approach to the Cinemas of Portugal and Spain, Elena Cordero-Hoyo and Begoña Soto-Vázquez (eds) (2020)." International Journal of Iberian Studies 36, no. 2 (June 1, 2023): 177–79. http://dx.doi.org/10.1386/ijis_00101_5.
Melo, Daniel. "‘Living Normally’: Everyday Life Under Salazarism." European History Quarterly 52, no. 2 (March 30, 2022): 200–220. http://dx.doi.org/10.1177/02656914221085129.
Rojinsky, David. "Visualizing a ‘missing people’ in Sousa Dias’ Still Life: The filmmaker as metallurgist." International Journal of Iberian Studies 37, no. 1 (March 1, 2024): 27–43. http://dx.doi.org/10.1386/ijis_00120_1.
Dissertations / Theses on the topic "Cinéma – Portugal – Histoire":
Pellerin, Agnès. "Représenter le peuple : la chanson dans le cinéma portugais." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080054.
Questioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)
Da, Silva Eurydice. "Filmer sous la contrainte : le cinéma portugais pendant l’État Nouveau de Salazar (1933-1974)." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100073.
From 1926 to 1974, Portugal was ruled by the longest dictatorship in Europe in the 20th century. To tackle Portuguese film from 1933 to 1974 means evoking an authoritarian system which combines propaganda, censorship and repression, instruments of power used under the New State regime (Estado Novo), established by António de Oliveira Salazar. Through the analysis of unpublished archival documents, this dissertation proposes to determine the impact of the political context on the film community during the New State, in terms of film content as well as in production and distribution. We will study how the regime operated to oversee, supervise or repress film production, in order to understand the dynamic between cinema and history during the New State. We will focus on the censorship process in the Portuguese industry, to understand the specifics and challenges of the system and explore the outcomes and evolution over 48 years of dictatorship
Henry, Christel. ""A cidade das flores " : pour une réception culturelle au Portugal du cinéma néoréaliste italien comme métaphore possible d'une absence." Caen, 2002. http://www.theses.fr/2002CAEN1350.
Robert-Gonçalves, Mickaël. "Cinéma portugais en révolution. 1974-1982 : genèse, enjeux, perspectives." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA023/document.
Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema
Pilar, Gavilanes Maria del. "La construction du commun dans le cinéma de Pedro Costa." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0038.
Based on the analysis of the cinematographic work of Pedro Costa, Portuguese filmmaker working since 1997 with the inhabitants of Fontainhas and Casal da Boba, two neighborhoods in Amadora, a town on the outskirts of Lisbon, this thesis proposes a reflection on the possibility of representing a community and on the challenges of cinema work in relation to the construction of a political common. The specific characteristics of this cinema are to operate on the long term and to organize the work according to events that occur in the lives of the inhabitants, who invent and embody the stories told in the movies; ordinary beings take responsibility for building a representation of themselves, their ways of living, their world. Taking into account these distinctive features of a cinema produced in a specific context, this investigation considers particularly the construction of narratives and the potential of speech to question how, through these processes, individual beings with multiple voices can tell collective stories. The cinema of Pedro Costa is studied in relationship with that of other filmmakers: Margarida Cordeiro et Antonio Reis, Jean-Marie Straub and Daniele Huillet, Jean Rouch, John Ford and Jacques Tourneur, to show that the similarities between their work respond to economic constraints and specific choices on their part. The remakes of other filmmakers' films is a recurring theme in Pedro Costa's work which, echoing to a cinematic tradition, seeks to reactivate a political content already present in the films selected as reference, in particular to deal with subjects related to the Portuguese colonization and the Cape Verdean immigration
Givois, Ève. "Les Représentations audiovisuelles françaises de migrants italiens, espagnols et portugais (1945-1974)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H038.
The Italian, Spanish and Portuguese migrants were the subject of many French audiovisual performances from 1945 to 1974, conditioned by the evolution of the diplomatic relations maintained by France with the countries of origin of these populations, by the media structures in place in France and by the adjustments of the French immigration policy. After a study of types, formats and authors of these television and cinematographic representations in the first part, the second and third parts of this thesis retrace their evolutions. From the aftermath of the Liberation until 1962, Italian, Spanish or Portuguese migrants from the screens are divided between working class’ figures and born artists. The images of Spaniards evolve then according to the changes of the attitude of France toward Franco's Spain, those of Italians develop in favor of the co-production film agreements between France and Italy, while those of Portuguese remain marginal. In 1962, when television became more important, these representations crystallized and became politicized. Stereotypical figures of Italian, Spanish and Portuguese migrants assert themselves. The French government seeks to use television to evoke these favored migrations, while political exiles, Spanish and Portuguese in particular, especially artists, are more and more filmed, as the struggles and supports to immigrants
Tiago, Marcelo Campos. "Na estrada com José, no mar com Manoel: a construção das representações espaço-temporais em "Viagem a Portugal" de José Saramago e em "Um filme falado" de Manoel de Oliveira." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/2064.
This work has the main purpose to understand the ways space and time conceptions are represented in A Talk Picture , Manoel de Oliveira`s picture and Voyage to Portugal , José Saramago s book. The concept of voyage is analysed through different perceptions constructed by the travelers when visiting Portugal or the Mediterranean World . So,the investigative eye required to this research becomes an unique moment to analyse different roles History plays in Portuguese society.
Este trabalho tem como objetivo a compreensão dos processos de representação espaço- temporal presentes em Um Filme Falado (obra cinematográfica de Manoel de Oliveira) e Viagem a Portugal (obra literária de José Saramago) , desvendando suas implicações sócio-culturais. O tema da viagem , eixo central de ambas as narrativas, é analisado tendo em vista as percepções construídas pelas personagens / viajantes sobre os lugares visitados, seja em Portugal, seja no Mundo Mediterrânico. O olhar investigativo sobre as duas obras torna-se assim um momento privilegiado para a análise sobre os diferentes papéis simbólicos atribuídos pelos autores à presença da reflexão histórica na sociedade portuguesa contemporânea.
Books on the topic "Cinéma – Portugal – Histoire":
Fernandes, José Manuel. Cinemas de Portugal. Lisboa: Edições Inaoa, 1995.
Joaquim, António. O cinema chegou a Portugal. 2nd ed. Lisboa: Bonecos Rebeldes, 2009.
Vera, Ana. Le cinema portugais: Histoire, culture et societe 1963-2015. Paris: L'Harmattan, 2019.
Queiroz, Maria Inês. Cinema em Portugal: Os primeiros anos. Edited by Museu de Ciência da Universidade de Lisboa. Lisboa: Imprensa Nacional, 2010.
Alberto, Mira, ed. The cinema of Spain and Portugal. London: Wallflower, 2005.
Santos, A. Videira. Para a história do cinema em Portugal. [Portugal]: Cinemateca Portuguesa, 1990.
Porto, Carlos. 10 anos de teatro e cinema em Portugal, 1974-1984. Lisboa: Editorial Caminho, 1985.
Martins, Paulo Miguel. O cinema em Portugal: Os documentários industriais de 1933 a 1985. Lisboa: Imprensa Nacional-Casa da Moeda, 2011.
Piçarra, Maria do Carmo. O cinema ideal e a Casa da Imprensa: 110 anos de filmes. Lisboa: Guerra e Paz, 2014.
Marques, José Alexandre Cardoso. Images de Portugais en France: Immigration et cinéma. Paris, France: L'Harmattan, 2002.
Book chapters on the topic "Cinéma – Portugal – Histoire":
Kalinak, Kathryn. "A history of film music II." In Film Music: A Very Short Introduction, 50—C5P41. 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/actrade/9780197628034.003.0005.
Christie, Ian. "Traffic in Images: Visual Spectacle before Cinema in Brazil." In Towards an Intermedial History of Brazilian Cinema, 17–38. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474452984.003.0002.