CECC - Documentos de Conferências / Conference Objects
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- The ambiguity of the revolutionary "moment": Lindsey Anderson’s If…. (1968) and the legacy of the global crisis of 1968-1975Publication . Mason, Matthew RaymondThis paper seeks to revisit Lindsey Anderson’s brilliant and outrageously provocative satire If…. (1968), originally released in the United Kingdom in December 1968, and starring Malcolm McDowell, in his first major role, as the public schoolboy and anti-establishment renegade Mick Travis, who clashes with the conservative traditions and overbearing hierarchy of his educational institution. Firstly, the commonly accepted notion of the film’s prophecy and unparalleled reflection of the cultural ‘zeitgeist’ of the era – as one of radical rebellion and youth revolt – will be acknowledged before touching on the ways in which the film has also been identified by some scholars (Buckingham, n.d. ; Porton, 1999) to be much more ambiguous and less overtly ‘revolutionary’ than often claimed. After having established this important nuance, this paper seeks to go one step further by acknowledging not only the central ambiguity of the film’s overall message – and especially its scandalous finale in which the schoolboy rebels, armed with sub-machine guns and grenades, open fire on the staff, teachers and parents from the rooftops of the school – but the ambiguity of the historical ‘moment’ of the late 1960s itself, especially when viewed in retrospect. For this same period, although frequently defined, quite rightly, by its revolutionary energy and utopian demands, is simultaneously marked, at least in retrospect, by a profound sense of defeat. This sense of defeat can be attributed to the perceived failure of not seeing its revolutionary demands realised (e.g., May ’68) and because, in many cases, outbreaks of protest were themselves violently extinguished (e.g., Mexico City, Prague, etc.). The paper will suggest that the film and its violent climax remain symbolic of the era, not so much because they capture a sense of ‘youth rebellion’ in some pure, unadulterated form, but because, in their profound ambiguity, they capture the fundamentally ambiguous nature of the revolutionary ‘moment’ itself – one whose results are always contingent on other factors and whose potentialities are highly unpredictable – just like the many tumultuous events that took place during the ‘global crisis of 1968 – 1975’ (Faulkner 2018, 436).
- Journalism and resistance: the clandestine newspaper O reviralho discourse in defiance of the military dictatorship in 1927 PortugalPublication . Fernandes, Inês Ferreira“Where there is power, there is resistance, and yet, or rather consequently, this resistance is never in a position of exteriority in relation to power”(Foucault 1978, 95). The social, political and economic power dynamic between rulers and subjects in one that transcends time. Only the dimensions in which such dynamic develops changes, and the correlation between the two is undissociated. Simultaneously, as a social institution, journalism is perceived as both a dimension and as an element that contributes to the power dynamic: it can be used as a source of information, as a point of accountability to those in power or portray a role of resistance to power. A role that gains an even bigger social importance when considering the “European culture of political participation, as well as the resistance to that participation from anxious political elites”(Conboy 2020, 28-29). This dynamic between power, resistance, politics, society and journalism is perceived and considered throughout time, landscapes, countries and ecosystems. Under these circumstances, one could wonder if, according to the historical dimension of journalism, politics and resistance, we can encounter models of resistance journalism or journalism of resistance. At the same time, can journalistic monographic analysis influence the development of journalism in a specific context? Can they contribute to understand the historical evolution of current media ecosystems? Against this background, and departing from the idea that journalism is and can be a form of resistance and used as a tool to face power, and that political landscapes can contribute to the existence of forms of journalism of resistance, this research takes the specific context of Portugal in 1927 and the clandestine newspaper O Reviralho as a corpus of analysis as an example of political resistance in the form of a periodical. Portuguese history of the first decades of the twentieth century is recalled by political turmoil and revolution that led to the fall of the monarchy, given way to the First Republic. This one lasting from 1911 until 1926, it is known for its political instability, economic crises, and partisan and military revolutions. It is in this political and historical context that the Military Dictatorship rises to power after a military coup on the 28th of May 1926. Although politically, and traditionally, the authoritarian regimes in Portugal are associated with the Estado Novo regime (1933-1945), historically the preceding Military Dictatorship (1926-1933) is in fact the point of birth of a period of more than fifty years of repression, control and authority. It is also in this period that through the decree 11839, and its clarification decree 12008, that censorship begins to be imposed on the Portuguese publications. Under this context, the revolution against the military regime give rise to the so call “Reviralhismo”, the counter revolutionary movement determined to overthrow the military dictatorship and whose activities lasted from 1926 all the way into the Estado Novo Regime. This revolutionary movement tried on many occasions to lead dozens of uprisings and reinstate the democratic regime, although not only unsuccessful but also contributing to the more authoritarian characteristic of the military dictatorship and the Estado Novo. As this political instability developed, so did the Portuguese journalistic ecosystem. At the beginning of the last century, Portugal saw a growth in the number of newspapers along with an increase of its influence. Their consolidation led to the emergence of independent and objective journalism (Sousa 2008). However, the political and economic instability that existed in the country during much of the last century led journalism into a field of unclear political influence and objectivity(Santos 2010). Concurrently, under the political instability, repression and censorship, Portugal watches an increase of illegal or clandestine newspapers, bulletins or similar publications. The best-known being “Avante” during the Estado Novo as a left-wing/communist publication that fought the regime, but also newspapers such as “A Terra”, “A Voz do Povo”, “Libertação Nacional” or O Grito do Povo. This association of Salazar’s regime and repression to clandestine publications is well-known and explored, however, this research focus on a publication from the period of the military dictatorship, representing a point of resistance to the regime that lasted until 1974 and the implementation of the freedom of the press. As such, and against this backdrop, this research aims to understand how the discourse on resistance to the military dictatorship was built in the clandestine newspapers. For that, it takes as corpus of analysis the newspaper “O reviralho: órgão do Comité Revolucionario”. Published in 1927, having only five issues, this publication presented itself as “a strong trench where they take shelter for combat, the steadfast hearts of the Portuguese”, with clear connections to the revolutionary movement. Drawing from Fairclough position on the dynamic of social power, and Wodak historical context of discourse, this research develops a critical discourse analysis of the five editions of the newspaper to understand the dimensions of resistance in the newspaper. Preliminary findings have determined not only that the publication is, in itself, a form of resistance by not entirely complying with the premises of the law decrees for publications, but also by reinforcing a position of political and social critic of the military dictatorship. At the same time, it does intend to be a form of journalism of resistance, by its clandestinity format but also of resistance journalism by publishing uncensored information. Circling back to the initial position that journalism can be a form of resistance in its different dimensions, and that the power dynamic between ruler and subject is defined by its historical context, this research aims to bring to light how monographic analysis of resistance in journalism can be used to understand the time of its social and political context, but also contribute to understand the journalistic ecosystem and overall historiography of the period under analysis.
- The (in)discreet charm of Bourgeois excess, or (the limits of) cinema as social critique: a comparative consideration of Jean-Luc Godard’s Weekend (1967) and Ruben Östlund’s Triangle of Sadness (2022)Publication . Mason, Matthew RaymondThis essay aims to discuss Jean Jean-Luc Godard’s Weekend (1967) and Ruben Östlund’s Triangle of Sadness (2022), two European films produced 55 years apart and set across different geographies, yet which, in my view, serve as excellent examples of cinema as social critique – films that aim to formulate a critique of capitalist society in the domain of cinema. The films will be considered in terms of their respective similarities and differences and what this may (or may not) say about their respective historical moments. Above all, the films will be compared in terms of the satirical approach they employ which takes aim at the perceived decadence and immorality of capitalist society in what we might want to ironically refer to as the (in)discreet charm of bourgeois excess. The films will be considered in terms of their relation to two different 20th century European avant-garde movements – firstly, in relation to the important artistic tradition of Surrealism (and more specifically that of a cinema under the sway of Surrealist ideas) and, secondly, in relation to the theory of the Situationist International (SI). Lastly, the films will be used to show how, despite being exceptional examples of ‘cinema as social critique,’ they also perfectly serve to illustrate the limitations of such a cinema – embedded, as both films are, within the status-quo of cultural production as resolutely profitable entertainment products.
- Rádio musical privada em Portugal e Espanha: que diversidade na promoção da cultura?Publication . Sardica, RitaO meio rádio foi sempre considerado um bom veículo de divulgação de iniciativas culturais, associando-se, muitas vezes, através de apoios institucionais a grandes eventos, sejam eles peças teatrais, filmes, concertos, festivais ou lançamentos de livros e discos. Sendo a partilha da agenda cultural mais comum nas rádios de tipo generalista ou de formato informativo, que investimento em termos de tempo de antena farão as rádios musicais na promoção da cultura? E de que forma comunicam e estão presentes nestes eventos? Se é certo que, atualmente se verifica nestas estações uma tendência generalizada para a promoção de música e de concertos de artistas predominantemente anglo-saxónicos ou que, não o sendo, optam por se expressar em inglês, será que Portugal e Espanha, países geograficamente muito próximos, seguem esta mesma inclinação? E quais serão as grandes diferenças na forma como apoiam a cultura nacional? Através da análise de duas semanas de audição dos programas da manhã das duas rádios musicais mais ouvidas em Portugal e Espanha – Manhãs da Comercial e Anda Ya, da estação Los 40 Principales – irá proceder-se a um estudo comparativo sobre o peso que cada uma das emissões, transmitidas em estações de rádio privadas, atribui à divulgação cultural de acontecimentos do seu país, nomeadamente que valor dão à produção e artistas nacionais, de modo a poder aferir-se se existe uma verdadeira promoção da diversidade cultural em rádios privadas de formato musical.
- On the creative urban migration(s) of the situationist international: Amsterdam, Hamburg, VenicePublication . Mason, MatthewFrom its origins, the Situationist International (SI) sought to be a revolutionary avant-garde which was profoundly internationalist in its outlook. This was reflected not only in the diverse demography of its membership, boasting members from countries as far away as Algeria, Tunisia, Isreal and Congo (Dolto and Sidi Moussa 2020), but also through its far-Left political ideology and organisational structure (Cochard 2020). Furthermore, the SI sought to craft a wide-ranging analysis of global capitalism that went far beyond the confines of the Western (formally) ‘capitalist’ world – something mirrored by the situationist concept of the ‘spectacle’ which, global in scope, contained a critique of the bureaucracies of the ‘East’ as much as the consumer societies of the ‘West’ – and sought to offer a diagnosis of events in places far beyond Europe such as in Cuba, China, Japan, Mexico or the USSR, for example. Additionally, however, it can be argued that the group was internationalist, or, at least, explicitly ‘transnational’ in its practice through the organisation of conferences and events across Europe and in different European cities and towns. This paper would like to focus on three European cities in particular which can serve as important case studies to underline this transnational, ‘migratory’ approach to artistic and theoretical creativity in which the SI engaged, and which sought to bypass the narrow lens of national(ist) perspectives and art and culture. These three cities will be: Amsterdam, Hamburg and Venice. Beyond the more immediately obvious geographical ‘centre’ of the Situationist project in the French capital, Paris, these cities were all associated with both practical Situationist activity and theoretical iterations of Situationist practice. These include Debord’s preface for Ralph Rumney’s unpublished work on ‘Psychogeographical Venice’ (1957), Debord and Constant’s ‘The Amsterdam Declaration’ (1958), which announced the SI’s newfound emphasis on the methodology of ‘Unitary Urbanism’ as “the fruit of a new type of collective activity” and the notorious (and ultimately unwritten) ‘Hamburg Theses’ (1961), which is said to have captured the group’s newfound political philosophy following the SI’s fractured 5th conference in Göteborg and the subsequent split with the ‘Scandinavian’ situationists under the influence of Jörgen Nash. It is hoped that an engagement with these three European cities as sites of Situationist practice can serve as important examples of the SI’s internationalist approach with constantly factored in a form of creative urban ‘migration’, something which, in turn, helped to foster the growth of innovative transnational concepts.
- Mediated memories: archives and (micro)documentaries as sources for the memory of the Portuguese estado novo regimePublication . Fernandes, InêsThe Portuguese 20th century is inalienable with the longest authoritarian regime in Europe. Led by Salazar and Caetano, the Estado Novo regime ruled from 1933 until 1974. The day to day life of these 48 years is preserved both in the individual and familial memories of those that lived in that period and also in the collective memory of the country engraved in the national archives at Torre do Tombo. As time passes, the (re)construction process of that historical period is put into question. As such, this presentation seeks to understand how documentaries made on the information available in the archives and memories of this era can be used as sources for revisiting the historiography of the Estado Novo? Based on the criminal archives of political prisoners, this research takes the documentary Luz obscura (Dark Light) by the female Portuguese director Susana de Sousa Dias as corpus of analysis and a theoretical approach to media, memory and (micro)documentaries. Departing from a single photograph of a mother and child on the moment of their incarceration by P.I.D.E., a set of interviews of family members and images from the family home, combining darkness and silence, the documentary explores the individual, familial and collective remembrance of the events considering that "our memories remain collective and are remembered by others, even if we alone took part in the events or observed the things in question. In reality, we are never alone." (Halbwachs, 1990). The collective memory is build upon the individual and familial memory of the “actors”, questioning, yet again, the acts of the political police. Through content and image analysis this presentation aims to understand the potential that the mediated product documentary and the archives negotiate individual and family memories and contribute to the (re)construction of the national memory of the Estado Novo.
- Revista dos Centenários: how Portuguese propaganda built a celebration based on an idealised past in 1940Publication . Fernandes, Inês Ferreira
- Affective infrastructures of fandom: Swiftie videos, participatory authorship, and the co-production of celebrity culture in Taylor Swift’s Eras TourPublication . Müller, Naíde; Ganito, Carla; Ferreira, Cátia; Tavares, Patrícia; Simão, JoãoTaylor Swift’s Eras Tour has become a defining popular-cultural event of the 2020s not only through its unprecedented scale and commercial success, but through the participatory practices it generates and intensifies across digital platforms. Beyond the official stage production, the tour circulates through vast quantities of fan-made images and videos that transform live performance into a distributed archive of feeling and a shared repertoire of belonging. This paper examines how Swifties use fan-recorded concert videos as forms of participatory authorship and how these vernacular audiovisual practices visually encode collective identity across online and offline contexts. Building on scholarship on participatory culture and convergence (Jenkins, 2006), connective fandom (Fuller, 2017), and affect as a social force in networked publics (Ahmed, 2004; Papacharissi, 2015), the study approaches fandom not as a passive audience response but as a set of cultural practices through which meaning, emotion, and collective identity are co-produced. In line with recent work on choreographed participation in contemporary celebrity culture (Bengtsson & Edlom, 2023), we argue that fan engagement during the Eras Tour is simultaneously structured and expressive, shaped by the affordances of the live concert setting and by shared interpretive frameworks circulating within Swiftie culture. Empirically, the study draws on a qualitative corpus of 130 fan-generated videos collected between June 2024 and February 2025 through an international online questionnaire administered in Portuguese and English. Participants were asked to upload a short clip recorded during an Eras Tour concert that they considered emotionally significant and to explain why that moment mattered to them. This dual-layer dataset captures both the embodied, sonic, and visual dimensions of the concert experience and the reflective narratives through which fans articulate meaning, memory, and attachment. The analysis follows a thematic approach (Braun & Clarke, 2006) using a hybrid deductive–inductive logic informed by theories of participation, affective publics, and popular culture. Two research questions guide the study: (1) How do fans mobilise video-making and sharing during the Eras Tour as practices of participatory authorship and affective expression? (2) In what ways do fan-generated videos and their accompanying narratives construct and visually encode collective identity within Swiftie culture? Findings show that fans’ filming choices are patterned rather than incidental. Many clips foreground affective intensity through close framings of faces, hands, and bodily gestures, while unstable or “shaky” camerawork operates as a material trace of embodied emotion. Recording is frequently synchronised with climactic lyrical or musical moments, suggesting that fans treat the performance as a participatory script and translate private emotion into a culturally recognisable resource. At the level of collective identity, videos repeatedly turn the lens towards the crowd, capturing choral singing, coordinated gestures, and ritualised practices such as the display and exchange of friendship bracelets. These moments function as visual proofs of belonging and reposition fandom as a co-protagonist of the concert narrative rather than a background presence. Circulated on social media, such videos extend the temporal and spatial boundaries of the live event, allowing individual memories to be re-inscribed within a shared affective archive. Conceptually, the paper argues that fan-recorded concert videos operate as affective infrastructures: micro-narratives that connect peripheries and centres by stitching embodied experience, digital circulation, and collective myth-making. In doing so, Swifties contribute to the co-production of celebrity culture and demonstrate how contemporary popular music events are archived, narrated, and sustained through networked participatory cultures.
- Narrating values inside and outside the organisation: how do the top management espoused values shape organisational ethical reputation?Publication . Tavares, PatríciaCorporate reputation is an increasingly valuable intangible organisational asset. Reputation is perceptual, multidimensional, multi-themed, specific, and stakeholder dependent. Still, understanding the process of reputation formation is a challenge. The social construction approach to reputation uses stakeholder theory to understand how corporate reputation is formed. Stakeholder theory (Freeman, 2014) restores the centrality of values in organisational strategy, thereby setting the tone for the development of responsible management, responsible leadership and responsible strategic communication. Values through conversation (Freeman & Auster, 2011) address the dynamics of organisational values and their central role in strategy definition and organisation behaviours, stating that organisational leadership is responsible for starting this conversation. The organisational values adopted by the organisation's top management (espoused values) influence organisational dynamics. Still, studies on the connections between the values adopted by organisational top management and their visibility and effects on internal and external stakeholders are scarce. The main gap this study addresses is how the values that the top management espouses (Bourne and Jenkins, 2013; Freeman and Auster, 2011) for the organisation, enter the corporate reputation formation process (Ravasi et al., 2018), specifically the ethical character of the organisation (Chun, 2005.) The purpose of this study is then to understand how top management's espoused values shape corporate reputation. Resorting to a qualitative, processual approach and a narrative construction strategy, 62 in-depth interviews were conducted. First, with members of the management team of the largest Portuguese radio group and afterwards with various internal and external stakeholders. Interviews with 39 internal organisational members, from most of the organisation's departments, at several levels and diverse functions and 23 external organisational stakeholders, including clients, partners, commentators, artists, and beneficiaries. Also, archival data on cases and events identified in the interviews, totalling 28 cases, completed the data corpus for analysis. Using thematic analysis followed by narrative elaboration, 5 narratives emerged attesting to the ethical reputation stemming from top management's espoused values and their circulation within the organisation through individual perceptions, strategic internal and external communications, and events. Findings identify a process through which the salience of the values adopted by top management (espoused values) enters the organisation’s ethical reputation formation process. By examining the complex dynamics between top management's espoused values and the intricacies of how these values are perceived by internal and external stakeholders, this research advances knowledge on the shaping of communication flows within and outside the organisation. Specifically, by eliciting this process in the media sector, this study elaborates on the perceived ethical stances of a medium with two distinct yet intertwined missions: information and entertainment. This research thus responds to the call for a more fine-grained and deeper understanding of the corporate reputation formation process (Ravasi et al., 2018) and, particularly, the formation of the organisation's ethical character, or its reputation for being ethical (Chun, 2005). By tracing the “circulation” of espoused values inside the organisation, from their identification to their cueing for internal stakeholders, through organisational relationships, communications, and events, espoused values become available cues to external stakeholders, through the same mechanisms, and enter the ethical corporate reputation formation process. By examining organisational values dynamically, this work reinforces the importance of values as dynamic entities, available for reflection and conversation, as Auster and Freeman (2011) state. In addition, it operationalises their framework through Bourne and Jenkins's (2013) framework of organisational values, linking the literature on stakeholder theory and organisational values and informing organisational strategic communication. It proposes that the attributed values category from Bourne and Jenkins (2013) framework is useful in assessing both internal and external stakeholders' perceived values, and contributes to understanding organisational identity formation. It also reinforces the Bourne and Jenkins (2013) framework as an approach to organisational values, as perceived by both internal and external stakeholders. It supports the central role of values in stakeholder theory and their association with organisational intangibles, such as identity and ethical corporate reputation, particularly in its formation process (Ravasi et al., 2018). This process maps the values “circulation” within the organisation and their diffusion to internal and external organisational stakeholders, through relationships, organisational communications, and events. It also displays the mechanisms that lead to this diffusion, as well as the tuning and integration by organisational internal and external stakeholders. This process advances theory on the formation of corporate reputation. Specifically, it deepens understanding of the formation of an organisation's ethical reputation and how cues from organisational top management espoused values enter this process. The same proposed process is also useful when planning both internal and external communications to the organisation’s multiple stakeholders. For the industry, identifying a process to assess, discuss, and understand the circulation of espoused values within the organisation, and their queueing in ethical corporate reputation building, enables awareness, reflection, and management of internally and externally communicated espoused values. It also allows for developing more authentic and integrated communications strategies and raising the opportunity to elaborate strategy-focused communications evaluations, with a long-term focus, that align with the organisation's purpose and behaviours. Having a process to identify, reflect on, and understand the effects of espoused values on organisational internal and external stakeholders enables planning, assessing different values “clusters,” and identifying internal tensions. It also helps in understanding internal and external relationships with organisational stakeholders and acting on potential arising tensions.
- The control of screens and collective imagination: TV news and contemporary activism in PortugalPublication . Müller, NaídeThe deep crisis of confidence affecting advanced industrial democracies that extends to the new and more recent democracies is creating a fertile ground for the growth of "populisms” that can affect significant activist historical achievements regarding basic human and civil rights. The debates about how social networks are contributing to this reality reinforces the need to strengthen the basic institutional and democratic functions of traditional media. In Portugal and in Europe television remains the most common medium used by citizens to access information, so it is important to present citizens other possibilities for public participation with the capacity to assert a set of social "counter-powers". The production of fictional realities increased by digital environments can be seriously detrimental to some audiences and postmodern PR professionals will necessarily have to adopt a critical attitude and vigilant of "meaningless communication" patterns. This article presents preliminary data on the representation of contemporary activist movements in the television news of the four generalist Portuguese freeto-air channels and approaches the possibilities for media professionals, as symbolmakers in hyperreality contexts, on counteracting the tendencies towards the standardization of beliefs in ways that can contribute to help activists, who defend democratic values, to reach the television screens.