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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),

9

especially in those societies that went through similar processes of urbanization,

democratization and social transformation shaped around the emergence of new

media.

10

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.

11

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.

15

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

19

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

20

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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