Portuguese Culture and the Globalization of Sound and Image A history of audiovisual culture in 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.

1 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 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 .

2 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

3 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 . 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).

4 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.

5 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.

6

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

7 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),

8 especially in those societies that went through similar processes of urbanization, democratization and social transformation shaped around the emergence of new media.

9 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.

10 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-

11 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 ; third article;

12 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.

13 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.

14 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.

15 - 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.

16 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

17 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

18 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

19 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

20 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.

21 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.

22 Almeida, Luís Pinheiro de. Biografia do Ié-Ié. Lisboa: Documenta, 2014 Bourdieu, Pierre. The Field of Cultural Production. New York: Columbia University Press, 1994 Cádima, Francisco Rui. O Fenómeno Televisivo. Lisboa: Círculo de Leitores, 1995 Cádima, Francisco Rui. Salazar, Caetano e a Televisão Portuguesa. Lisboa: Editorial Presença, 1996 Canclini, Nestor Garcia. Hybrid Cultures: strategies for entering and leaving modernity. Minneapolis: University of Minnesota Press, 2005 Charalambis, Dimitris, Laura Maratou-Alipranti, Andromachi Hadjiyanni. Recent Social Trends in Greece 1960-2000. Quebec: McGill-Queen’s University Press, 2004 Charle, Christophe. Le Siècle de la Presse (1830-1939). Paris: Seuil, 2004 Cristo, Dina. A Rádio em Portugal e o Declínio do Regime de Salazar e Caetano (1958-1974). Coimbra: Minerva, 2005 Cusset, François. La Décennie. Le grand cauchemar des années 1980. Paris: La Découverte, 2008 Di Grazia, Victoria. Irresistible Empire: America's Advance Through Twentieth- Century Europe. Harvard University Press, 2005 Estrela, Rui. A Publicidade no . Volume II (1960-1973). Lisboa: Comunicando, 2005 Featherstone, Mike. Undoing Culture: Globalization, Postmodernism and Identity. Sage Publications, 2000. Ferin Cunha, Isabel. “As Telenovelas Brasileiras em Portugal: indicador de aceitação e mudança”, in Trajectos 3, 2003 Ferin Cunha, Isabel. ‘A revolução da Gabriela: o ano de 1977 em Portugal’, in Cadernos Pagu 21, 2003 Ferreira, Raquel. A Experiência da Audiência das Telenovelas em Portugal. Lisboa: FCSH/UNL, 2010 Fickers, Andreas. ‘The Birth of Eurovision: Transnational Television as a Challenge for Europe and Contemporary Media Historiography’, in Fickers (ed). Transnational Television History: A Comparative Approach. New York: 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. Génese, Dinâmica e Consolidação do Rock Alternativo em Portugal. Porto: Edições Afrontamento, 2014 Hall, Stuart. Encoding and Decoding in the Television Discourse. Birmingham, England: Centre for Cultural Studies, University of Birmingham, 1973 Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991

23 Kellner, Douglas. Media Culture: Cultural Studies, Identity and Politics Between the Modern and the Postmodern. 1995 3 Labanyi, Jo, Helen Graham (eds). Spanish Cultural Studies: An Introduction. Oxford: Oxford University Press, 1995 Labanyi, Jo (ed). Constructiong Identity in Contemporary Spain. Oxford: Oxford University Press, 2002 Lash, Scott. "Power after Hegemony: Cultural Studies in Mutation?" Theory, Culture, and Society, 24 (3), 2007 Leone, Carlos. Portugal Extemporâneo. História das Ideias do Discurso Crítico Português no Século XX. Lisboa: Imprensa Nacional – Casa da Moeda, 2005 Longhurst, Brian. Popular Music and Society. 1995 Machado, Gisela. O Primeiro Dia Europeu de Portugal. Cenas da união selada pela televisão. Porto: Campo das Letras, 2005 Matos, Helena. Os Filhos do Zip-Zip. Portugal nos Anos 70. Lisboa: Esfera dos Livros, 2013 Monteiro, Tiago. Tudo Isto é Pop. Portugalidades Musicais Contemporâneas. Rio de Janeiro, Editora Caetés, 2013. Negus, Keith. Producing Pop: Culture and Conflict in the Popular Music Industry, 2011 Policarpo, Verónica. Viver a Telenovela. Um estudo sobre a recepção. Lisboa: Livros Horizonte, 2006 Ross, Kristin. Fast Cars, Clean Bodies: decolonization and the reordering of French Culture. Cambridge MA.: MIT Press, 1996 Santos, Rogério. As Vozes da Rádio. 1924-1939. Lisboa: Editorial Caminho, 2005 Santos, Rogério. Indústrias Culturais: Imagens, Valores e Consumos. Lisboa: Edições 70, 2007 Santos, Rogério. A Rádio em Portugal. Sempre no Ar, Sempre Consigo. Lisboa: Colibri, 2014 Straubhaar. Joseph. World Television: From Global to Local. Sage, 2007 Straubhaar, Joseph. ‘Telenovelas in Brazil: From Traveling Scripts to a Genre and Proto-Format both National and Transnational,’ in Tasha Oren and Sharon Shahaf (eds). Global Television Formats: Television Across Borders. Routledge, 2012 Street, Eduardo. O Teatro Invisível. História do Teatro Radiofónico. Lisboa: Página 4, 2006 Teves, Vasco. História da Televisão em Portugal, 1955-1979. Lisboa: TV Guia Editora, 1998 Torres, Eduardo Cintra. A Multidão e a Televisão: representações contemporâneas da eferverscência colectiva. Lisboa: Universidade Católica, 2013 Trindade, Luís. O Espírito do Diabo. Discursos e Posições Intelectuais no semanário O Diabo. 1934-1940. Porto: Campo das Letras, 2004

24 Trindade, Luís, António Pedro Pita (eds). Transformações Estruturais do Campo Cultural Português, 1900-1950. Coimbra: CEIS20, 2008 Trindade, Luís. O Estranho Caso do Nacionalismo Português. O Salazarismo entre a literatura e a política. Lisboa: Imprensa de Ciências Sociais, 2008 Trindade, Luís. Foi Você que Pediu uma História da Publicidade? Lisboa: Tinta da China, 2008 Trindade, Luís. “Um Cartaz Espantando a Multidão. António Ferro e outras almas do modernismo banal”, in Comunicação & Cultura 8, 2009 Trindade, Luís. “O Riso Desdramatizador. Combate de géneros e as memórias do cinema clássico português”, in P. Portuguese Cultural Studies 3, 2010 Trindade, Luís. “A Cidade Despovoada – Povo, Classe e Literatura Moderna”, in Neves, José, Como se faz um Povo. Lisboa: Tinta da China, 2010a Trindade, Luís. “A Imagem do Sportsman e o Espectáculo Desportivo”, in Domingos, Nuno, José Neves. História do Desporto em Portugal. Lisboa: Quidnovi, 2012 Trindade, Luís. “Cultura em Portugal – 1890/1940: Um País de Palavras num Mundo de Imagens”, in Teixeira, Nuno Severiano (coord.). A Crise do Liberalismo (1890-1930). História de Portugal, vol. 3. Madrid, Carnaxide: Fundación Mapfre/Objetiva, 2014 Vilela, Joana Stichini. Lisboa, Anos 60. Lisboa: Dom Quixote, 2012

Adorno, Theodor Barthes, Roland Bell, Daniel Débord, Guy Eco, Umberto Ertenzberger Jameson, Fredric MacLuhan

História da vida privada, livro anos 60 (nacional e internacional),

Dicionário da música portuguesa

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