Teresa Duarte Martinho

Mapping cultural policy in Portugal: From incentives to crisis

Abstract Taking into account the course of cultural policy in democratic Portugal, and against the backdrop of the international crisis of 2008 and the sovereign debt crisis of 2011, this article seeks to interpret recent changes in the cultural sector in Portugal. Using both qualitative and quantitative methods it focuses on three main aspects: institutionalisation of democratic cultural policy; government funding; cultural organizations and facilities. The 2008 crisis put an end to a period in which investment tended to grow. We place Portugal in the broader European context, concluding that the Portuguese cultural scene may once again diverge from that of other European countries.

Amílcar Cabral, the PAIGC and the Media: The Struggle in Words, Sounds and Images

Amilcar Cabral stood out both as an African political theorist and as the leader of the African Party for the Independence of Guinea and Cape Verde (PAIGC). Although he would write that ‘the struggle is not just a conversation, nor words, either written or spoken’, one of PAIGC’s strongest weapons in the struggle for independence was the creation of a system of mass media. Chapter 16 reveals the enormous effort Cabral expended on the media, by way of intensive diplomatic activity, constant exposure to the international media and to journalists, and the organisation of a party-controlled press and radio that conducted ‘psychological warfare’ to counter the enemy’s propaganda.

O Livro do desassossego, de Fernando Pessoa, no cinema: a distribuição e exibição do filme de João Botelho

This article seeks to analyse the strategy for distributing and exhibiting theFilm of disquiet (Filme do desassossego), by the Portuguese film-maker Joao Botelho, based on Fernando PessoasBook of disquiet (Livro do desassossego). This strategy involved an unusual way of disseminating the film, because it was shown in theatres and municipal auditoriums in a national tour throughout Portugal, and on account of the diverse roles taken on by the director, based on a plan agreed with the films producers. This papers approach seeks to contribute to a understanding of the processes and dynamics of dissemination of art outside standard parameters. The article reveals the greater degree of interdependence in film work, and hence the fact that the directors are less able to control and manage the various resources involving production and dissemination. It also shows the effects of a particular combination of art and commerce, which emerged out of a desire to take risks and make a gesture of dissent. Taking on the role of impresario for his own work, Joao Botelho sought to give his work a more independent signature, and thereby attract greater attention to the film, as well as to publicize and promote the experience of watching it as something rare and unusual.