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Portuguese Culture and the Globalization of Sound and Image
A history of audiovisual culture in Portugal from the 1950s to the 1990s
B.1. Major contributions / highlights
(3000)
In his box you should list up to ten publications or equivalent research outputs that
support your accomplishments. This should include widely accepted research outputs
for a given scientific area. For each research output indicate how it has contributed to
the advancement of knowledge in a given scientific area and specify your own
contribution. Please note that the panel will be asked to judge the quality of the
research outputs. For publications with more than ten authors, please indicate the
corresponding author and your position in the authors list.
1 – O Espírito do Diabo. Discursos e Posições Intelectuais no Semanário O Diabo.
1934-1940. 2004 (monograph) – One of the first histories of Portuguese neo-realism,
a key cultural and literary movement in twentieth-century Portugal. Especial focus
was given to the internal structure of the newspaper.
2 – Transformações Estruturais do Campo Cultural Português, 1900-1950. 2008 (co-
edited book, with chapter) – Volume with a wide range of studies on early twentieth-
century cultural history. This is still the most comprehensive work on modern cultural
history in Portugal. I also contributed with a chapter on the relations between
journalism and modernism.
3 – O Estranho Caso do Nacionalismo Português. O Salazarismo entre a Literatura e
a Política. 2008 (monograph) – The cultural origins of Portuguese modern
nationalism and authoritarianism. The book also reconstitutes and historicizes the
literary field from 1890 to 1940.
4 – Foi Você que Pediu uma História da Publicidade? 2008 (monograph) – A visual
essay on the discourse and aesthetics of advertising in Portuguese newspapers
throughout the twentieth-century.
5 – “Um Cartaz Espantando a Multidão. António Ferro e Outras Almas do
Modernismo Banal”. 2009 (article) – Study on the relations between journalism and
modernism and the tension between the written word and the new mechanisms of
moving images in the 1920s.
6 - “O Riso Desdramatizador. Combate de Géneros e as Memórias do Cinema
Clássico Português”. 2010 (article) – A cultural analysis of 1940s Portuguese filmic
comedy, with a comparison with the Hollywood genres of comedy and melodrama.
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7 – “A Cidade Despovoada – Povo, Classe e Literatura Moderna”. 2010 (book
chapter) Critique of one of the most pervasive tropes in Portuguese cultural analysis:
the rural roots of national identity. This article reflects upon literary and filmic
representations of the city.
8 – “A Imagem do Sportsman e o Espectáculo Desportivo”. 2012 (book chapter) –
History of the origins of modern sport in Portugal in close connection with early
twentieth-century developments of urban culture and the culture industries in
Portugal.
9 - The Making of Modern Portugal. 2013 (edited book, with chapter and
introduction) – The most updated and comprehensive survey on modern Portugal with
contributions by historians, sociologists and political scientists. In addition to editing,
I wrote the Introduction – a critique of the lack of comparative frames of analysis in
Portuguese modern history – and one chapter – on the discursive structure of
Portuguese modern nationalism.
10 – “Cultura em Portugal – 1890/1940: Um País de Palavras num Mundo de
Imagens”. 2014 (book chapter) – An attempt to re-rewrite the period’s cultural history
by focusing on urban culture industries and contextualizing the traditional narrative of
literary history and the history of ideas within the development of mass culture. The
chapter is included in the third volume of the most recent History of Portugal.
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B.2. Synopsis of the CV
(3000)
When preparing your CV synopsis list your major achievements in narrative form, but
using objective indicators and substantive arguments. You should also provide
objective information that helps the panel to assess if and for how long you have been
working as an independent investigator.
I became a member of the Institute for Contemporary History (ICH) in 2002, while
I was teaching in the History Department of the Universidade Nova de Lisboa (on
Cultural History and Theory of History). I had just started my PhD and took part on
some of the Institute’s initial efforts to internationalize and define its research profile
as one of the leading Portuguese postgraduate centres in History. Among other
initiatives, I participated in the project Encontros a Sul, with the Universities of
Bologna and Santiago de Compostela, and became the coordinator of a line of
research on Cultural History and Mass Culture. In 2004, I also became a member of
the ICH’s directive board (until 2007).
As my own research was evolving from a cultural history of the literary field to a
more extensive engagement with mass culture and the culture industries, I organized
the conference “Structural Transformations in the Portuguese Cultural Field. 1900-
1950”, and the seminar on the “History of Mass Culture in Portugal”, in 2004 and
2006. These events involved researchers coming from different disciplines and
working on different aspects of Portuguese audiovisual culture and the culture
industries, and contributed to the creation and consolidation of a field dedicated to
cultural studies in Portugal.
In 2006, I became a post-doctoral Research Fellow at the École des Hautes Études
en Sciences Sociales in Paris, with a project on the reception of Structuralism in
Portugal. This was an opportunity to define my research profile around three main
axis that still inform my work: theoretical questioning of research problems,
diversification of cultural objects and the establishment of international frames of
analysis. This is apparent in the several syntheses I have published on Portuguese
cultural history, such as the recent “Cultura em Portugal – 1890/1940” and the edited
volume The Making of Modern Portugal. The latter was the main outcome of an FCT
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funded research project involving the ICH, Birkbeck and the Universidade
Complutense de Madrid, in which I was one of the Principal Investigators.
The internationalization of my career continued in 2008, when I was appointed
Lecturer in Portuguese Studies (Senior Lecturer from 2011) at Birkbeck, University
of London. Since then, I became actively involved in Birkbeck’s lively research
culture, as programme director of two MAs (World Cinema and Spanish, Portuguese
and Latin American Cultural Studies), research director of the Department of Iberian
and Latin American Studies, and member of the steering committees of prestigious
research centres such as the Birkbeck Institute for the Humanities and the Birkbeck
Institute for the Moving Image. Moreover, I had the opportunity to turn Birkbeck into
an active hub in Portuguese Studies in the UK, attracting many doctoral and post-
doctoral researchers (I am currently supervising six PhD students, three of which with
FCT grants; and three post-doctoral projects also funded by FCT).
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B.3. Synopsis of the research project and career development plan
(3000)
In this section, you should identify the “big scientific question” that you want to
address in your research project. You should also provide sufficient information that
convinces the evaluation panel that you have the conditions to pursue your major
goals. Please note that, in addition to the objective information provided in the
synopsis of your CV, you may need to explain your career stage and to justify that
your application meets the requirements of the position/level that you are applying
for.
This project aims to open a groundbreaking field of research at the intersection of
Portuguese cultural history and cultural studies by historicizing the development of
audiovisual culture in Portugal from the mid-1950s to the early 1990s.
Methodologically, it proposes a shift of the traditional object of cultural history from
Portuguese Culture to Culture in Portugal. What at first may seem as a simple
semantic change is aimed to constitute a decisive expansion in a field traditionally
dependent on literary history and national identity. By focusing on what circulates
throughout the cultural field, rather than what is intrinsically Portuguese, this research
will not only engage with heterogeneous cultural media (cinema, radio, television,
popular music), but it will also grasp the circulation of foreign works and authors in
Portugal.
This heterogeneous approach indicates a commitment to interdisciplinarity that can
be traced back to the late 1990s, when I started my career as a cultural historian. For
fifteen years, I built a research profile based on the questioning of dominant narratives
and methods in early twentieth-century cultural history. This took different forms,
from rethinking the structures of intellectual life and the literary field, to the
expansion to cinema, journalism, the theatre and sport in my research. The main
outcomes of this initial phase were two monographs in 2004 and 2008, the
organization of a conference in 2004 (whose proceedings were published in 2008),
and the organization of a research seminar at the ICH in 2006. These events
represented an important contribution to the development of Portuguese cultural
history and cultural studies. More recently, I have expanded my research to the
second half of the century and specialized in new areas of study such as television,
music and advertisement.
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This proposal can be seen as a follow up to my seven-year experience as Senior
Lecturer in Portuguese Studies at the Birkbeck College. As a cultural historian
working in a foreign department of cultural studies, I had the chance to participate in
an academic environment committed to interdisciplinarity and comparative analysis.
This experience has also enhanced my competence as a research leader and my ability
to establish international research teams, particularly through the supervision of
doctoral and postdoctoral projects, and close collaboration with colleagues from
foreign universities. In these circumstances, the project will be in a particularly
favourable position to contribute to the internationalization of Portuguese cultural
history and cultural studies, not only through expected published outputs (three
articles, one edited book, one monograph), but also through the development of
research networks (a new research group and proposals for one international research
project and one international FCT PhD programme – more details in “Expected
Outcomes”) whose impact is likely to continue beyond the funding period.
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C.1.1. Background
Present a background overview of the research field. Here you can make reference to
your previous work, show your knowledge of the state of the art, and explain the
innovative nature of your application. (5000)
The 1950s marked a decisive turning point in the structure of Portuguese society,
when agriculture ceased to be the main economic sector and the majority of the
population no longer lived in rural areas. The resulting process of urbanization was
followed by the expansion of literacy: for the first time, more than 50% of the
population could read. The fact that these social transformations occurred in parallel
with an intense internationalization of audiovisual forms, on the other hand, gave the
whole process a strong visibility. But despite the sharp sense of change given by the
growing international circulation of audiovisual objects, the impact produced on the
cultural field remains largely understudied. This project thus aims to assess and
narrate this break by historicizing the development of an audiovisual culture in
Portugal from the mid-1950s to the early 1990s.
Throughout this period, the most popular forms of urban entertainment and popular
culture will also undergo dramatic changes. Theatrical comedy will expand through
cinema, radio and television, whereas popular music will be increasingly exposed to
international competition by European, and in particular Anglo-Saxon pop culture.
The project’s chronological frame can in this sense be defined along two interrelated
lines: the internationalization of Portuguese economy in the context of the Marshall
Plan, first, and European integration, later; the three first decades of Portuguese public
television (until the appearance of private broadcasters in 1992). More specific
political events, such as the 1974-75 Revolution, played an important role in this
historical process, especially due to the end of censorship, but the chronology of
audiovisual culture should follow a specific periodization.
Accordingly, from the 1950s to the 1990s, transformations in our object will
develop along those two lines: Portuguese audiovisual fiction, entertainment and
popular music will negotiate with foreign formats and adapt to public expectations
increasingly shaped by European and North-American cultural products (Di Grazia
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2005); television will reinforce its position as the organizing centre of the cultural
field, especially after the end of the 1970s, with colour television and a dramatic rise
of television sets in Portuguese households (Dionísio 1993). Although this process
was gradual and accompanied by other media, such as the radio, it can be suggested
that the formation of an audiovisual culture proper, affecting all forms of urban
entertainment and popular culture, could only have succeeded through the new regime
of visibility brought by television.
What is decisive about this process is how it marks a shift from a previous period
centred on the press. This has been the object of my previous research (Trindade
2004, 2008), where the press was shown as a key instrument of public visibility. As I
also suggested elsewhere (Trindade 2009, 2012), early twentieth-century was
characterized by a tension between the still dominant cultural forms based on the
written word and emergent mechanisms of reproduction of sound and image. The
birth of television broadcast can thus be seen as a late development of an earlier
cultural process. This project thus combines a long-term historical approach with
contemporary social transformations and cultural internationalization. Such approach
not only allows the project to contribute to single out audiovisual objects within a
cultural history almost exclusively based on literary tradition, but also to bring to the
front a new set of cultural mechanisms somehow closer to late twentieth-century
processes of economic internationalization in European societies.
In this sense, the project will develop and help to consolidate the opening of studies
on the Portuguese audiovisual that took place in recent decades (Cádima 1996, Santos
2007, 2014, Torres, 2013), and benefit from an even more recent, although rather
unsystematic, surge of social memory on audiovisual forms (Vilela 2012, Matos
2013). By inserting the field in a longer historical narrative, the project will both
constitute an opportunity to expand the scope of Portuguese cultural history to objects
rarely included in its remit and trigger a missing dialogue with cultural studies. This
will allow us to stress the conditions of production, circulation and reception of
cultural objects (Hall 1973) in the light of the recent revival of conjunctural and
contextual analysis in cultural studies (Grossberg 2010). Finally, such an object of
research may constitute an optimal instrument to situate Portugal in the context of
globalization of audiovisual forms and assess its specificities in relation to other
national cases (Labanyi 2002, Siegfried 2006, Charalambis 2004, Cusset 2008),
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especially in those societies that went through similar processes of urbanization,
democratization and social transformation shaped around the emergence of new
media.
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C.1.2. Research plan and methods
Start by identifying the major scientific question you wish to address and the
objectives of your project. Include hypothesis and list specific aims and objectives
that will be used to address the hypothesis. Provide a general description of the
approach used to reach the aims. Consider possible limitations and alternative
approaches. (7000)
This project aims to deploy audiovisual objects to redefine the approach to
Portuguese cultural history and make a simple but decisive shift in the definition of
the discipline from what is usually understood as Portuguese Culture to a more
socially based notion of Culture in Portugal. In fact, the stress on national culture is a
sign of the origins of cultural history in the history of ideas and literature (Lourenço
1978). The consequence is usually that, rather than mapping the social conditions of
the cultural field (Bourdieu 1994), the discipline ends up reinforcing the different
artistic and intellectual canons and defining culture as the expression of an idealized
version of the nation and its people.
By focusing on a more socially based notion of culture, the project will map the
heterogeneous circulation within the cultural field. The consequences of this shift will
become apparent at two levels. On the one hand, the objects relevant to our research
are both the works of celebrated authors and the “minor” forms whose visibility in the
public sphere is inversely proportional to their recognition by critics and cultural
historians. The ensemble of objects in a given cultural field should in this sense form
an hybrid of disparate cultural forms (Canclini 2005), not only merging in the same
narratives what is usually taken separately – popular versus avant-garde, literature and
the audiovisual, for example – but actually trying to explain all objects as mutually
interdependent (Kalifa 2008).
On the other hand, what counts here as relevant are both national and international
cultural forms. This happens in a key moment of economic globalization when some
have identified the occurrence of a cultural turn, in which culture is uprooted from its
national origins and move centre stage in the new global system (Jameson 1991).
Here too, national production can only be fully understood in relation to the foreign
cultural objects with which it defines its meaning and negotiates its position.
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Conversely, the reception of these foreign objects will depend on a negotiation with
the local system of popularity and cultural legitimacy.
To combine these different layers of production, circulation and reception can thus
be said to constitute this project’s key objective. The history of audiovisual culture in
Portugal is here seen as a complex play of tensions between classic forms of cultural
legitimacy, popular culture (especially those urban forms based on the recording of
images and sounds) and foreign objects. Our initial hypothesis is that audiovisual
culture from the mid 1950s to the early 1990s experiences a process of
autonomization from written cultural traditions that corresponds to the formation of
globalized identities (Featherstone 2000). This can been verified by following three
distinct but related areas of cultural production that will constitute the main threads of
our narrative: fiction, entertainment and popular music:
- Fiction: Portuguese cinema, radio and television will initially adopt the
dominant genres and themes of Portuguese theatre; later, the influence of
foreign films and television series (e.g, the Brazilian telenovela (Ferin 2003))
will open the space to the emergence of specific forms of audiovisual fiction,
with its own stars and national imaginary;
- Entertainment: here too, the initial model can be located in a popular form of
the theatrical tradition, the revista à Portuguesa, then evolving to forms of
comedy already adapted to television formats in the 1980s;
- Popular Music: from genres closely related to urban entertainment (fado and
other songs popularized by revista à Portuguesa), popular music will
experience a strong pressure to internationalize (through the televised
Eurovision song contest, for example (Fickers 2012)), that will end up with the
emergence of a new genre of rock and pop in Portuguese in the early 1980s
(Monteiro 2013, Guerra 2014).
The three areas show a similar evolution from an initial moment when theatrical
genres as the previous paradigm of the culture industries (Trindade 2014) pervade the
forms of fiction, entertainment and popular music adopted by cinema, radio and
television in the first two decades of our chronology, to a second moment, already in
the 1970s and 1980s, when a new audiovisual system centred on television starts
producing its own fictional formats, entertainment and musical forms. This evolution
will allow us to reassess the historical chronology of the second half of twentieth-
12
century Portugal, particularly in the ways it cuts across political periodization and
moves cultural phenomena closer to structural transformations in Portuguese society
(urbanization) and economy (tertiarization).
Despite this historical coherency between the three narratives, the diversity of
cultural objects covered by the project imply a strong commitment to
interdisciplinarity, not only combining different disciplines within cultural studies,
such as film, television and music studies, but also enabling the analysis of complex
phenomena of hybridity (Canclini 2005), performativity (Frith 1998), global
circulation (Straubhaar 2007) and cultural reception and memory (Abrams 2010). The
impact of interdisciplinarity can be seen in the variety of archival sources involved in
the project, which requires a careful five-year planning of research and other
activities:
1st year: Research on periodical publications on different aspects of audiovisual
cultures (corpus already identified); readings on Portuguese and foreign audiovisual
cultures, cultural history and theory (bibliographical readings will continue
throughout the funding period); Public debate on audiovisual archives in Portugal
with different institutions (Rádio e Televisão de Portugal (RTP), Arquivo Nacional
das Imagens em Movimento (ANIM), Instituto de Etnomusicologia (INET)) and
researchers; Ten in-depth interviews with radio, television and music industry
professionals;
2nd year: Research on periodical publications (conclusion); Research on audiovisual
archives: ANIM and RTP (initial contacts already established); first of three articles
to be submitted to international journals; Ten in-depth interviews with television
viewers and radio listeners in the period from the 1950s to the 1990s, selected
according to different social strata;
3rd year: Audiovisual archives; Monthly research seminar on audiovisual culture at
the ICH; second article; Ten in-depth interviews with television viewers and radio
listeners;
4th year: Audiovisual archives (conclusion); Monthly research seminar
(conclusion); International conference on audiovisual cultures in Southern Europe;
third article;
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5th year: Writing up of monograph on the history of audiovisual culture in Portugal
– 1950s-1990s (initial contacts with publishers already established); edition and
submission of book proposal with conference proceedings to international publisher.
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C.1.3. Expected outcomes / impact
Refer to the expected outcomes of your project and how this will impact on your
career development and on the scientific strategy of the host institution. If you expect
your research to be a demonstrable example of excellent research contributing to the
society and the economy this should be mentioned. If actions of scientific
dissemination are adequate to your research project, and you consider organising
them, describe your plans. (5000)
The impact this project outcomes are planned to produce can be seen at three
different levels: on the reconfiguration and internationalization of Portuguese cultural
history and cultural studies; on the access to audiovisual archives in Portugal; on
social memory of the twentieth-century:
- These outcomes can be seen as a follow up to my work as Senior Lecturer in
the University of London, where I had the chance to raise a series of innovative
questions within Portuguese studies and to tighten the links between researchers
in Portugal and in the United Kingdom. The opportunity to relocate my career
in the research environment of the ICH will allow me to intensify this already
ongoing international exchange and to contribute to the renewal of Portuguese
cultural history. Most of the project outcomes can be seen along these two
priorities: the insertion of Portuguese cultural history in a wider international
context and the interdisciplinary relation between cultural history and cultural
studies:
o one monograph on the history of audiovisual culture in Portugal in
which foreign cultural forms play a decisive role;
o three articles to be submitted to international journals on different forms
of international cultural exchange and circulation involving the
Portuguese case;
o an international conference followed by the publication of proceedings
in English on audiovisual cultures in Southern Europe.
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Moreover, the funding period will also be used as an opportunity to submit two
major proposals, in line with the ICH’s strategy of internationalization and the
priority there given to the notion of contemporaneity:
o an International Research Project within the “Horizon 2020 Research
and Innovation Programme” on audiovisual cultures in Southern Europe
(initial collaboration with Greek and Spanish partners already
established);
o an International FCT PhD Programme in Comparative Cultural History
and Cultural Studies with the ICH, the New University of Lisbon,
Birkbeck and the Pontifícia Universidade Católica in Rio de Janeiro
(PUC/Rio);
- The study of audiovisual objects raises questions of access to archives of
recorded sounds and moving images. In Portugal, the legal status and the actual
conditions of these archives is precarious. Despite the efforts made in the last
two decades to recover and give access to audiovisual materials (especially by
the ANIM and the RTP Archive project), the situation is still very uncertain.
This has become an obstacle to the development of audiovisual research, and
thus to the institutionalization of cultural studies as an autonomous field in the
country.
One of the project main aims is to gather archival institutions and researchers
involved in the study of audiovisual materials and initiate a public debate on
audiovisual preservation in Portugal. The project will thus develop close
collaborations with the ANIM, the RTP and the INET at the Universidade Nova
de Lisboa (a research centre actively involved in the preservation of the
country’s sound patrimony). In this context, the organization of a seminar on
audiovisual research, a public debate on archives and an international
conference on audiovisual cultures are all designed to achieve two aims, both
likely to produce an enduring impact: to create a new line of research on
audiovisual cultures within the ICH’s Research Group “Culture, Power and
Identities” (of which I will become the coordinator throughout the funding
period) with all parts involved, and to raise public awareness to the current
conditions of audiovisual archives in collaboration with policy makers.
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- The reason why the problem of audiovisual archives in Portugal is so relevant
(and timely, as many of these archives are rapidly deteriorating) is not
exclusively due to the needs of academic research and the development of
cultural studies. The strong symbolic weight of a rural imaginary and the
influence of literary narratives in national identity have traditionally demoted
urban cultures and audiovisual forms of popular culture in the hierarchies of
Portuguese cultural patrimony. By mapping audiovisual culture as the emergent
imaginary of urban Portugal in the second half of the twentieth-century, this
project also aims to incorporate urban culture within the dominant forms of
social memory. With this, the project outcomes will contribute in different ways
to supplement the current debates on memory studies around the dramatic
legacies of the dictatorship and the colonial wars with a series of usually less
considered social phenomena such as youth culture (Almeida 2014),
consumerism (Ross 1996) and postcolonialism (Cardão 2013).
These outcomes are thus likely to combine an impact both in my career and in
the ICH’s strategy of internationalization (by situating both at the centre of an
emergent field of research solidly settled in an international network), but also in
other disciplines and non-academic debates in Portuguese society.
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C.1.4. References
Please include here the references cited within the application. (3000)
Abrams, Lynn. Oral History Theory. Routledge, 2010
Almeida, Luís P. Biografia do Ié-Ié. Documenta, 2014
Bourdieu, Pierre. The Field of Cultural Production. Columbia University Press,
1994
Cádima, Francisco R. Salazar, Caetano e a Televisão Portuguesa. Presença, 1996
Canclini, Nestor G. Hybrid Cultures. University of Minnesota Press, 2005
Cardão, Marcos. Fado Tropical. Lusotropicalismo na cultura de massas (1960-
1974). ISCTE-IUL, 2013
Charalambis, Dimitris. Recent Social Trends in Greece 1960-2000. McGill-
Queen’s University Press, 2004
Cusset, François. La Décennie. Le grand cauchemar des années 1980. La
Découverte, 2008
Di Grazia, Victoria. Irresistible Empire: America's Advance Through Twentieth-
Century Europe. Harvard University Press, 2005
Dionísio, Eduarda. Títulos, Acções, Obrigações. A Cultura em Portugal: 1974-
1994. Salamandra, 1993
Featherstone, Mike. Undoing Culture: Globalization, Postmodernism and Identity.
Sage, 2000.
Ferin, Isabel. “A revolução da Gabriela: o ano de 1977 em Portugal”, in Cadernos
Pagu 21, 2003
Fickers, Andreas. “The Birth of Eurovision”, in Transnational Television History.
Routledge, 2012.
Frith, Simon. Performing Rites: on the value of Popular Culture. Harvard
University Press, 1998
Grossberg, Lawrence. Cultural Studies in the Future Tense. Duke University Press,
2010
Guerra, Paula. A Instável Leveza do Rock. Afrontamento, 2014
Hall, Stuart. Encoding and Decoding in the Television Discourse. CCCS, 1973
Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. Duke
University Press, 1991
Kalifa, Dominique. “What is Now Cultural History About?”, in Writing
Contemporary History. Hodder Education, 2008
Labanyi, Jo (ed). Constructing Identity in Contemporary Spain. Oxford University
Press, 2002
Lourenço, Eduardo. O Labirinto da Saudade. D. Quixote, 1978
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Matos, Helena. Os Filhos do Zip-Zip. Portugal nos Anos 70. Esfera dos Livros,
2013
Monteiro, Tiago. Tudo Isto é Pop. Caetés, 2013.
Ross, Kristin. Fast Cars, Clean Bodies: decolonization and the reordering of
French Culture. MIT Press, 1996
Santos, Rogério. Indústrias Culturais. Edições 70, 2007
Santos, Rogério. A Rádio em Portugal. Sempre no Ar, Sempre Consigo. Colibri,
2014
Siegfried, D. (ed.). Between Marx and Coca-Cola: Youth Cultures in Changing
European Societies. 1960-1980. Berghahn, 2006
Straubhaar. Joseph. World Television: From Global to Local. Sage, 2007
Torres, Eduardo Cintra. A Multidão e a Televisão. Universidade Católica, 2013
Trindade, Luís. O Espírito do Diabo. Campo das Letras, 2004
Trindade, Luís. O Estranho Caso do Nacionalismo Português. ICS, 2008
Trindade, Luís. “Um Cartaz Espantando a Multidão”, in Comunicação & Cultura
8, 2009
Trindade, Luís. “A Imagem do Sportsman e o Espectáculo Desportivo”, in História
do Desporto em Portugal. Quidnovi, 2012
Trindade, Luís. “Cultura em Portugal – 1890/1940: Um País de Palavras num
Mundo de Imagens”, in A Crise do Liberalismo (1890-1930). Mapfre/Objetiva, 2014
Vilela, Joana S. Lisboa, Anos 60. Dom Quixote, 2012
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C.2. Career development plan
Career objectives / Development and consolidation of an independent career /
Networking and Internationalisation plans
Clearly state where you are in your career and state your short term (next 3 years) and
long term (over 5 years) career objectives. Also, explain how the research project
relates to your goals and how it is integrated in the scientific research strategy of the
host institution. Finally, indicate your international collaborations and how they relate
with the proposed research project, if applicable. (5000)
I have recently submitted a monograph to Berghahn Books titled Narratives in
Motion. Reportage and Modernist Events in 1920s Portugal. The book questions the
mediation of journalism in the historical perception of the twentieth-century, by
treating narratives (reportage, in this case) and the circulation of written objects
(newspapers) as historical events in their own right. This publication marks the end of
my involvement with early twentieth-century culture in Portugal (which has been my
main object or research for almost two decades), and gives evidence of my
commitment to further reflect upon the objects of cultural history. As part of this same
reflection, I am currently preparing an article about the twentieth-century as a concept
in recent cultural studies and a challenge to the current debates on cultural history.
The theoretical questioning involved in these works have paved the way to my
engagement with audiovisual forms in the second half of the century. This line of
research has already started some years ago, especially through teaching (mainly at
Birkbeck, but also in postgraduate courses in Portugal, at INET, and Brazil, where I
was a teaching fellow at PUC/Rio in 2011) and it gained momentum in the last two
years, with more regular research in film archives and the press on the late 1970s and
early 1980s. The initial outcomes of this research are now forthcoming, with three
articles on different aspects of post-revolutionary culture with specific focus on film,
popular music and the political impact of audiovisual forms: “Pano-Cru. A Inscrição
da Memória do Passado Revolucionário”, in Crítica e Sociedade: Revista de Cultura
Política (already published); “Thinking the Revolution in Alberto Seixas Santos’s
Brandos Costumes and Gestos & Fragmentos”, in Cinema: Journal of Philosophy
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and the Moving Image (approved for publication); and “Dividing the Waters. The Sea
in Portuguese postmodernist political cultures”, submitted to the Portuguese Journal
of Social Science (under review).
In the short term, I plan to develop research on the topics to which the present
project directly relates, by pursuing some already ongoing forms of collaboration. I
am currently preparing one article on cultural transformations in the decade after the
1974-75 revolution (to the journal Ler História), and two book chapters to volumes
already approved by English publishing houses: on the impact of rock music in the
careers of Portuguese militant singers (to The Singer-Songwriter in Europe, Ashgate)
and on the role of television in the context of social modernization in the 1980s (to
Gender and Consumer Cultures in Late-and Post-Authoritarian Greece, Spain and
Portugal, 1960s-1980s, Bloomsbury Publishing). The three texts are due before the
end of 2014. Finally, I am also organizing a congress on the “1980s” in collaboration
with other researchers in Portugal, to be held in Lisbon in 2015, which will become
the first public event of a research group formed by the five PhD students working in
topics of the 1970s and 1980s under my supervision at Birkbeck.
On the longer term, my aim is to expand the mapping of cultural phenomena I
developed to the first half of the twentieth-century into the second half, and enhance
the links between cultural history and cultural studies in Portugal. The chance to
resume my research career at the ICH is, in this sense, decisive to this process and
will benefit from my experience in the University of London during the last seven
years. Here, I not only had the opportunity to establish myself in the field of
Portuguese studies and history, but also to give an important contribution to revamp
the discipline in the United Kingdom, by updating research objects and introducing
more contemporary questions. As a cultural historian working in a cultural studies
department, I became sharply aware of how the two disciplines can supplement each
other through a stronger historicization of the latter and by engaging the former in
better-defined social contexts. Moreover, my familiar relation with both British and
Portuguese universities allowed to permeate my teaching and PhD supervision in
London with recent research and open forms of dissemination of Portuguese cultural
history abroad.
Throughout the funding period and beyond, this past experience will become
instrumental in strengthening my potential in managing research teams and my ability
21
to secure research funding, particularly through the successful accomplishment of two
of the project’s most ambitious outcomes: the international research project and the
international FCT PhD programme. Finally, these aspects of the project demonstrate
how my career goals are in tune with the ICH’s research strategy, as both outcomes,
and the other initiatives in the working plan, will play a decisive role in the
consolidation of my career as an independent researcher and in the reinforcement of
the Institute’s national and international presence in the field.
22
E.2. Description of the host conditions
Please specify the host conditions that are available and/or will be made available at
the institution to ensure that you can successfully complete your research project and
further develop your career during and beyond the time that you are funded as a FCT
Investigator. (1500)
Throughout the funding period, I will become the coordinator of “Culture, Power
and Identities”, an ICH Research Group dedicated to challenging the limits of cultural
history and to exploring the interdisciplinary relations with other fields. This will
become a decisive aspect of the research project, as it will allow me to fully benefit
from the Institute’s lively research community. In fact, the seven research groups that
constitute the ICH are to a large extent what structures its activity and what gives it its
distinctive identity.
As group coordinator, I will be able to establish a research calendar with seminars,
conferences and other events and to closely participate in already existing groups,
such as the “Visual History Workshop”. Moreover, I will have the opportunity to
create a new line on “Audiovisual Cultures”, around which the activities in the
project’s research plan will take place: research seminar, public debate on audiovisual
archives, international conference. The Research Group will also work as the contact
point with all researchers from other institutions collaborating in any aspects of the
project, including PhD students working on late twentieth-century cultural studies
under my supervision at Birkbeck.
Finally, ICH staff will provide the required administrative support and guidance in
the demanding procedures involved in the proposals to the International Research
Project and the International FCT PhD Programme.
23
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