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Abstract(s)
Portugal apresenta uma das mais baixas quotas de espectadores da União
Europeia para filmes nacionais estreados em sala comercial. Com uma média
aproximada de 3% obtida entre o período de 2004-2019, esta situação está
longe de ter encontrado soluções ou medidas políticas que a procurem
aproximar da média Europeia, de 15,5% no ano de 2018, em contraponto com os
1,9% obtidos em Portugal nesse mesmo ano. A sistematicamente baixa quota
nacional em Portugal traduz e perpetua um problema de crónica
insustentabilidade do setor cinematográfico, sendo um claro indicador do
distanciamento do público Português com o seu cinema. Daqui resultou a
questão fundamental desta tese: como se chegou a este ponto e o que é possível
fazer para inverter essa tendência? Este estudo, assumindo uma forma híbrida,
com três distintas partes e abordagens, tem como ponto focal a análise dos
dados referentes aos apoios atribuídos pelo Instituto do Cinema e Audiovisual
no âmbito da criação e produção cinematográfica entre 2004 e 2019, aos filmes
estreados e aos espectadores obtidos durante esse período, enquadrada por uma
contextualização histórica do Cinema Português na sua relação com o Estado e
demais agentes e por um filme-esboço elaborado a partir de testemunhos e
depoimentos existentes nos arquivos RTP, problematizando uma ideia latente
de fatalismo que parece acompanhar a cinematografia nacional desde o seu
nascimento, em paralelo com uma atitude de resistência, em certo sentido quase
heróica, dos seus protagonistas.
Portugal has one of the lowest market shares in the European Union for national films premiered in commercial theaters. With an approximate average of 3% obtained between the period 2004-2019, this situation is far from having found solutions or political measures that seek to bring it closer to the European average, which is of 15.5% in 2018, in contrast to the 1 .9% obtained in Portugal in the same year. The systematically low market share in Portugal reflects and perpetuates a problem of chronic unsustainability of the film sector, being a clear indicator of the distance between the Portuguese audience and its cinematography. This resulted in the fundamental question of this thesis: how did it get to this point and what can be done to reverse this trend? This study, taking a hybrid form, with three distinct parts and approaches, has as its focal point the analysis of data referring to the supports granted by the Instituto do Cinema e Audiovisual (Portuguese Film Institute) in the scope of film creation and production between 2004 and 2019, to premiered films and to viewers obtained during this period, framed by a historical contextualization of Portuguese Cinema in its relationship with the state and by a sketch-film prepared from testimonies existing in the national broadcaster RTP archives, problematizing a latent idea of fatalism that seems to accompany the national cinematography since its birth, in parallel with an attitude of resistance, in a certain sense almost heroic, of its main protagonists.
Portugal has one of the lowest market shares in the European Union for national films premiered in commercial theaters. With an approximate average of 3% obtained between the period 2004-2019, this situation is far from having found solutions or political measures that seek to bring it closer to the European average, which is of 15.5% in 2018, in contrast to the 1 .9% obtained in Portugal in the same year. The systematically low market share in Portugal reflects and perpetuates a problem of chronic unsustainability of the film sector, being a clear indicator of the distance between the Portuguese audience and its cinematography. This resulted in the fundamental question of this thesis: how did it get to this point and what can be done to reverse this trend? This study, taking a hybrid form, with three distinct parts and approaches, has as its focal point the analysis of data referring to the supports granted by the Instituto do Cinema e Audiovisual (Portuguese Film Institute) in the scope of film creation and production between 2004 and 2019, to premiered films and to viewers obtained during this period, framed by a historical contextualization of Portuguese Cinema in its relationship with the state and by a sketch-film prepared from testimonies existing in the national broadcaster RTP archives, problematizing a latent idea of fatalism that seems to accompany the national cinematography since its birth, in parallel with an attitude of resistance, in a certain sense almost heroic, of its main protagonists.
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Keywords
Apoios Criação e Produção Cinematográfica Espectadores Quota Nacional ICA - Instituto do Cinema e Audiovisual