Portuguese Cinema

History

The beginning of the Cinéma Portuguese is associated with the production of court-measurings amateur by the industrialist of the town of Oporto Aurélio Paz back Reis - 1896. The first film of Portuguese fiction, realized in 1907, is the short film of a photographer of Lisbon, João Correia.

Cinema industry with the Portugal begins in 1918, with the reorganization of the house " Invicta Film" , in Oporto. At that time, one adapted Portuguese classic authors, employing foreign realizers. Between the Thirties and Forties, films were made by certain authors of modernistic avant-garde of inspiration, who hesitated between the Comédie and the historical Drame. In the Twenties, one saw emerging certain musical films.

It is only after the beginning of the year fifty that the production of films in Portugal starts, for the general public and under the auspices of “Estado Novo”, the mode Fasciste of Oliveira Salazar: comedies pink for small and average the Middle-class, with known actors come from the Theater. These films will re-appear, on the television sets of RTP, the public channel of television, good about fifty years later. Published in DVD, they are always seen by a considerable number fans.

Meanwhile, of the young rebels, come from the mediums movies clubist and academic, succeed in circumventing the obstacles and, allured by the French New wave, with the financial aid of the cultural institution Fondation Calouste-Gulbenkian, launches the movement which one calls the Cinema Novo. The Portuguese cinema then starts to be seen apart from the country. At the same time as the fiction, the documentary film will take a new breath.

It was agreed that the first films of the new cinema would be “Dom Roberto” (1962) of Jose Ernesto de Sousa (special mention of the jury in Cannes - 1963) and “green years” (1963) of Paulo Rocha. One can also regard as representative of this movement Fernando Lopes, António de Macedo, Alberto Seixas Santos, Jose Fonseca E Costa, António Pedro Vasconcelos.

At the same time as the new fiction took its first steps, the documentary film, under the inspiration of Robert Flaherty and of Jean Rouch, his way began again, discreetly, on a firmer ground.

Under the charm of a film of Leitão de Barros (Nazaré, Praia de Pescadores -1929) and of that of Manoel de Oliveira (Douro, River Faina - 1931, others, with him, (Acto da Primavera - 1963), let themselves invade by the tempting idea of the visual Anthropologie and create touching and original works: António Campos E António Reis. To the turning of the decade, left an unexpected revolution, Ricardo Costa follows them, in a hurry.

The Révolution of the eyelets would be revolving important Portuguese cinema, is by the possibilities that new freedoms offered to the new scenario writers, that is to say because, democratically, RTP, the public channel of television, opened its doors with these independent assoiffés. Beside anthropological film, to the deep sense, emerges, with the radical direction, the political film.

To fight co-operative associations are created: the “Cinequipe”, has “Movies quanon”, the “Grupo Zero”. Certain independent scenario writers organize themselves, constant by funds public or producing for television. Are representative of film poliqic: Alberto Seixas Santos (Grupo Zero), Fernando Matos Silva (Cinequipe), Luís Galvão TVS (Cinequanon), Rui Simões, one of the independent ones. In group or isolated, these scenario writers and producers will play not only one big role in the formal renewal of the cinema, but would form also a whole generation of technicians who, with competence, would go, a little later, to serve as other owners.

In the Eighties, on the traces of João Botelho, one sees emerging a new generation of young scenario writers, resulting for the majority from the University from theater and cinema of Lisbon. Supported by the supports public for first films, the Portuguese cinema knows a new breath then: Pedro Costa, Teresa Villaverde. Pedro Costa, more grown in anthropology and in a more urban register, making use of small a Numeric camera, quietly follows the tradition which goes from António Campos until Ricardo Costa. In its personal style, where the eye criticizes and the human eye are adjusted, Sergio Trefaut continues the same way.

In the fiction, some of the parvenus, such as João Pedro Rodrigues, radical scenario writer, or Marco Martins, graphic scenario writer, point out themselves with innovative films in important festivals.

Also come from the school of cinema of Lisbon, Edgar Pêra, video-scenario writer avant-gardist, handling the image by computer, are one of most original of this generation and in its kind. The Cinéma of animation would contribute also important shares for the already rich inheritance of the cinema.

A whole whole of young people, different sensitivities, continues meanwhile on the way of the documentary one: Pedro Seda Nunes, Sílvia Firmino, Daniel Blaufuks, Miguel Gonçalves Mendes, Luísa Homem, Catarina Mourão, Susana Sousa Dias, Cristina Ferreira Gums, Sílvia Firmino and others. The tree would give its fruits.

People and films

:Category: Portuguese actor
: Category: Portuguese actress
: Category: Portuguese film
: Category: Portuguese producer
: Category: Portuguese realizer
: Category: Portuguese scenario writer
: Category: Homosexuality with the cinema in Portugal

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