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Abstract(s)
“É Hasteada a Bandeira do Novo Cinema Português” dá título à presente dissertação
que aborda o cinema produzido em Portugal durante o Estado Novo. Trata-se de uma viagem
empreendida desde os anos 30 e 40, designada como a época de ouro do cinema português,
passando pelo Movimento Cineclubista e pelo Neorrealismo nos anos 50, terminando na
década de 60, com o Novo Cinema Português. Dom Roberto (1962), realizado por Ernesto de
Sousa, é o filme que dá início a este último movimento. É também ele, enquanto objecto
cinematográfico, que constitui o centro deste trabalho.
Dom Roberto é um filme originalmente controverso, devido à sua componente
multifacetada. Sendo influenciado por diferentes áreas e correntes, questiona-se se será digno
de representar o movimento vanguardista designado por Novo Cinema Português. Tendo em
vista esse apuramento, conduziu-se uma investigação pelo espólio de Ernesto de Sousa, bem
como por artigos de jornais e de revistas, no período de 1959 a 1962. No mesmo sentido de
esclarecimento daquela problemática vão as entrevistas realizadas com o cineasta Lauro
António, com o historiador Luís Reis Torgal e com o jornalista Paulo Filipe Monteiro.
Pelo modo de produção, designadamente pela angariação de fundos – por via da
Cooperativa de Espectador, forma inovadora de financiar a sétima arte – Dom Roberto liga-se
ao filme Bom dia, Alegria! (Projeto Final de Mestrado).
Com um enfoque especial na obra do realizador Ernesto de Sousa e em Dom Roberto,
sua única longa-metragem, esta dissertação torna patente certas peculiaridades das produções
cinematográficas durante o regime salazarista, as suas dificuldades e conquistas.
Será que o cinema de hoje deve alguma coisa àquele remoto “hastear da bandeira”?
The following Master’s Thesis is named “É Hasteada a Bandeira do Novo Cinema Português” (“The New Portuguese Cinema Flag is Flown”) which approaches the subject of the cinema industry in Portugal during the “Estado Novo” era. This thesis approaches subjects starting with the decades of 1930 and 1940, when the golden era of the Portuguese cinema was predominant, also touching the the Cineclub movement and the Portuguese Neorealism during the 1950’s decade and finishing by dealing with the subject of the “Novo Cinema Português” (“New Portuguese Cinema”) which starts on the 1960’s decade. Ernesto Sousa directs the movie that starts this movement: Dom Roberto (1962) is the main object of research of this work. Dom Roberto is a movie originally controversial due to its multifaceted component. Different areas and movements influence it. For that reason, the doubt arises: is the movie worthy of representing the Portuguese vanguardist movement? The answer to that question is analysed by taking into consideration the assets of Ernesto de Sousa such as newspapers articles and magazines (1959-1962). The interviews conducted to Lauro António, Portuguese cineaste, to Luís Reis Torgal, Portuguese historian and to Paulo Filipe Monteiro, Portuguese Journalist are equally important for the subject at hands. The mode of production, in particular by raising funds - through the Viewer’s Cooperative, innovative way to finance the seventh art - Dom Roberto attach the film Bom, dia Alegria! (Final Project Master). With a special focus on the work of director Ernesto de Sousa and the movie Dom Roberto, his only feature film, this thesis makes clear certain peculiarities of film productions during the Salazar regime, their difficulties and achievements.
The following Master’s Thesis is named “É Hasteada a Bandeira do Novo Cinema Português” (“The New Portuguese Cinema Flag is Flown”) which approaches the subject of the cinema industry in Portugal during the “Estado Novo” era. This thesis approaches subjects starting with the decades of 1930 and 1940, when the golden era of the Portuguese cinema was predominant, also touching the the Cineclub movement and the Portuguese Neorealism during the 1950’s decade and finishing by dealing with the subject of the “Novo Cinema Português” (“New Portuguese Cinema”) which starts on the 1960’s decade. Ernesto Sousa directs the movie that starts this movement: Dom Roberto (1962) is the main object of research of this work. Dom Roberto is a movie originally controversial due to its multifaceted component. Different areas and movements influence it. For that reason, the doubt arises: is the movie worthy of representing the Portuguese vanguardist movement? The answer to that question is analysed by taking into consideration the assets of Ernesto de Sousa such as newspapers articles and magazines (1959-1962). The interviews conducted to Lauro António, Portuguese cineaste, to Luís Reis Torgal, Portuguese historian and to Paulo Filipe Monteiro, Portuguese Journalist are equally important for the subject at hands. The mode of production, in particular by raising funds - through the Viewer’s Cooperative, innovative way to finance the seventh art - Dom Roberto attach the film Bom, dia Alegria! (Final Project Master). With a special focus on the work of director Ernesto de Sousa and the movie Dom Roberto, his only feature film, this thesis makes clear certain peculiarities of film productions during the Salazar regime, their difficulties and achievements.
Description
Keywords
Novo Cinema Português Nouvelle Vague Neorrealismo Cineclubismo Estado Novo Ernesto de Sousa, Dom Roberto e Cooperativa de Espectadores New Portuguese Cinema Neorealism Film Society Ernesto de Sousa, Dom Roberto and Viewers’ Cooperative