Cinema Português 2004-2012 qualificação entre os números e as suas representações culturais e sociais

Abstract

Portuguese Cinema has established in the last years qualitatively as author’s film, where social and philosophical reflection has been its main trumps allied to astonishing technical qualities. Nethertheless its recognition and qualification, Portuguese Cinema has fewer audiences on the last years. Throughout the Instituto do Cinema e Audiovisual’s data we will confront it with artistic, philosophical, social and cultural perspectives where Cinema has established itself as immaterial heritage and national promotion agent. Film has also became, globally, part of territorial promotion though artistic, touristic and cultural vectors. We look forward through this analysis to identify which are the relations between Portuguese Film awards, its audiences and the populations’ review on film. We are looking to a social-cultural analysis to Portuguese Cinema audiences through tree distinct perspectives; artistic, visual cultures and heritage (cultural and material). Authors like Zygmunt Bauman, with the contemporary society’s characterisation as “liquid modernity”, or Gilles Lipovestsky, with “hypermodernity”, claim that economic activities new organisation methods, new concepts of production and commerce, of communicate and distribute goods have affected the way as they are perceived, assimilated and consumed. Are we, in the case of Portuguese Film, before that phenomenon? With an annual average of 16 million spectators, which films are consumed and which is the Portuguese Film representation?