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&#171; Il y a longtemps que l&#8217;Histoire (narrative mythique de l&#8217;Humanit&#233; sur soi-m&#234;me) n&#8217;est plus son miroir vraisemblable. &#187;&#160;Eduardo Louren&#231;o&#171; Retourner &#187;&#192; l&#8217;occasion du quaranti&#232;me anniversaire de la r&#233;volution des &#339;illets, trois jours d'un colloque international sont propos&#233;s autour de la repr&#233;sentation cin&#233;matographique de cet &#233;v&#233;nement politique, de 1974 jusqu&#8217;&#224; aujourd&#8217;hui. Il s&#8217;agit tout d&#8217;abord de revenir sur le mot &#171; r&#233;volution &#187;, pris au sens premier et &#233;tymologique de &#171; retourner &#187;.Retourner vers le pass&#233;, &#224; une m&#233;moire revisit&#233;e, &#224; l'image du film 48 de Susana de Sousa Dias, retour sur la torture durant les quarante-huit ans de dictature salazariste &#224; travers les photographies anthropom&#233;triques de la PIDE (Police international de d&#233;fense de l&#8217;&#201;tat, la police politique sous le r&#233;gime de Salazar), v&#233;ritable organe de r&#233;pression du r&#233;gime, et les t&#233;moignages des prisonniers, voix sorties de l'ombre lumineuse de ces archives douloureuses, voix h&#233;sitantes du pr&#233;sent qui n'oublie pas.Retourner aussi au sens de mettre &#224; l'envers, ainsi &#233;galement de 48 qui utilise des images de l'ennemi &#8211; la dictature &#8211; pour en faire les expressions nouvelles d'une m&#233;moire persistante et active, pour donner une consistance &#233;galement &#224; l'indicible et &#224; l'invisible, le temps complexe de l'histoire.Retourner enfin, comme &#171; tourner &#224; nouveau &#187;, ne jamais abandonner l'id&#233;e de proposer de nouveaux traitements visuels de motifs du monde tel qu'il est v&#233;cu ou per&#231;u.R&#233;volution, pouvoir et cr&#233;ationApposer le mot &#171; r&#233;volution &#187; pr&#232;s de celui de cin&#233;ma, ram&#232;ne assez logiquement au cin&#233;ma des ann&#233;es soixante-dix, lui-m&#234;me h&#233;ritier en quelque sorte du &#171; cinema novo &#187; des ann&#233;es soixante. L'expression de &#171; cinema novo &#187; permet de d&#233;crire une g&#233;n&#233;ration de cin&#233;astes portugais qui a rompu avec le conformisme ambiant sous la dictature. En effet, plusieurs &#233;l&#233;ments se croisent &#224; la fin des ann&#233;es cinquante et au d&#233;but des ann&#233;es soixante. Le premier d'entre eux correspond &#224; l'&#233;mergence d'une nouvelle g&#233;n&#233;ration de jeunes gens se vouant au cin&#233;ma, form&#233;e par les cin&#233;-clubs ou la critique cin&#233;phile. Plusieurs d'entre eux b&#233;n&#233;ficient de bourses d'&#233;tudes accord&#233;es par le Conseil du Cin&#233;ma et partent &#233;tudier &#224; l&#8217;&#233;tranger (Paris, Londres, Bruxelles). En 1968, suite &#224; la Semaine du nouveau cin&#233;ma Portugais organis&#233;e par le Cin&#233;-club de Porto, un texte important voit le jour, &#171; Le M&#233;tier du cin&#233;ma au Portugal &#187;. A partir de ce moment et apr&#232;s environ un an de n&#233;gociations, la Fondation Gulbenkian d&#233;cide de financer la premi&#232;re coop&#233;rative de cin&#233;astes portugais, le Centre portugais du cin&#233;ma (CPC). La cr&#233;ation de cette premi&#232;re coop&#233;rative regroupant tous les cin&#233;astes ainsi que les premi&#232;res productions du CPC, souvent censur&#233;es ou malmen&#233;es par le r&#233;gime de Marcello Caetano (qui a succ&#233;d&#233; &#224; Salazar, malade, d&#232;s 1968), sont des r&#233;v&#233;lateurs de l'effritement du r&#233;gime et de la possibilit&#233;, sous couvert de discr&#233;tion, d'abn&#233;gation, d&#8217;organisation et d&#8217;unit&#233;, de produire d'autres images, donc un autre cin&#233;ma.La conqu&#234;te de cette cr&#233;ation libre s'est faite dans les actes, en m&#234;me temps que dans les images. Les cin&#233;astes de la r&#233;volution &#233;taient, pour la plupart, sinon des militants, des personnes engag&#233;es, sensibles &#224; la situation sociale et politique de leur pays. Les films de la r&#233;volution portugaise naissent dans des structures particuli&#232;res &#8211; des coop&#233;ratives de cin&#233;astes telles que Cinequipa, Cinequanon, Grupo Zero - cr&#233;&#233;s parfois avant le 25 avril 1974. Plus d&#8217;une centaine de films sont r&#233;alis&#233;s pendant la p&#233;riode r&#233;volutionnaire, entre avril 1974 et novembre 1975. De nombreux autres films continuent &#224; &#234;tre r&#233;alis&#233;s &#171; dans l&#8217;esprit &#187; de la r&#233;volution apr&#232;s 1975 &#8211; il en est ainsi du formidable film de montage de Rui Sim&#245;es, Bon peuple portugais (Bom Povo Portugu&#234;s), achev&#233; en 1980.&#171; ...un cin&#233;ma du glissement vers l&#8217;avant &#187;Devant ce travail des images qui perturbent le r&#233;gime et ses dogmes, il semble pertinent d'y voir une puissance politique du cin&#233;ma. D&#232;s lors, il est tentant de voir dans les propos de Dominique Noguez, parlant de l'efficacit&#233; politique des films, une possible appr&#233;hension du mouvement cin&#233;matographique portugais du d&#233;but des ann&#233;es soixante-dix jusqu'au moment de la r&#233;volution. Dans Le Cin&#233;ma autrement, il pr&#233;cise en effet que l'efficacit&#233; politique des films reste toujours limit&#233;e, &#233;tant donn&#233; que cette efficacit&#233; d&#233;pend pour beaucoup du public atteint et vis&#233;. M&#234;me si la seule efficacit&#233; politique doit se trouver avant tout dans le militantisme quotidien, il cerne quatre modes d'efficacit&#233; politique explicite dont le quatri&#232;me correspond probablement aux films du nouveau cin&#233;ma portugais censur&#233;s par le r&#233;gime : le cin&#233;ma prospectif. &#171; Ce cin&#233;ma &#187;, &#233;crit Noguez, &#171; est un cin&#233;ma du glissement vers l'avant &#187;, voire un cin&#233;ma de pr&#233;monition. Pour autant, et avec pr&#233;caution, il ne s'agit pas de donner r&#233;trospectivement &#224; ce cin&#233;ma une force politique qu'il ne contenait pas d&#233;j&#224;. L'&#233;mergence du cin&#233;ma de la r&#233;volution n'est donc pas le r&#233;sultat d'une modification brutale du champ des possibles, mais r&#233;sulte bien plus d'une dynamique latente, croissante, convulsive. Dans un article de synth&#232;se, publi&#233; en 2004, le critique Lauro Ant&#243;nio souligne que le cin&#233;ma portugais pr&#233;-r&#233;volutionnaire est un fameux indice de la d&#233;t&#233;rioration du r&#233;gime : les films Le Mal-aim&#233; (O Mal Amado, 1973) de Fernando Matos Silva, La Douceur de nos m&#339;urs (Brandos Costumes, 1974) de Alberto Seixas Santos, ou Sophie et l'&#233;ducation sexuelle (Sofia e a Educa&#231;&#227;o Sexual, 1973) de Eduardo Geada &#233;taient tout simplement &#171; impensables &#187; avant la mort de Salazar.Repr&#233;senter, actualiser et reconfigurer le r&#233;elAu cin&#233;ma portugais contemporain, se pose la question de savoir comment repr&#233;senter la r&#233;volution, de savoir aussi refigurer effectivement le temps de la r&#233;volution dans le pr&#233;sent, comment le rendre pr&#233;sent, et non pass&#233;, comment rendre leur force politique aux archives du 25 avril. Si la travers&#233;e de l&#8217;histoire est toujours une op&#233;ration critique et si la d&#233;marche historique implique un processus d&#8217;identification avec les &#233;v&#233;nements du pass&#233;, cependant, pour les cin&#233;astes portugais contemporains &#8211; surtout les fils de la r&#233;volution &#8211;, l&#8217;existence de ces vastes archives et d&#8217;un corpus cin&#233;matographique extraordinaire place la question hors de la port&#233;e de tout historicisme.Il s&#8217;agit bien s&#251;r de travailler l&#8217;histoire de la r&#233;volution, ses m&#233;moires vivantes, mais aussi de repr&#233;senter ce pass&#233; par rapport &#224; cette lign&#233;e cin&#233;matographique ; ce que fait, par exemple, Ginette Lavigne, qui a v&#233;cu &#224; Lisbonne durant le PREC (processus r&#233;volutionnaire en cours), en reconstituant, dans La Nuit du Coup d&#8217;&#201;tat (2001), la coordination strat&#233;gique du coup politique par Otelo Saraiva de Carvalho, &#224; la t&#234;te du soul&#232;vement militaire, en explorant la reconstitution comme figure de la discontinuit&#233; et de l&#8217;anachronisme.La m&#233;moire de la r&#233;volution dite des &#339;illets continue alors d&#8217;alimenter l&#8217;imaginaire cin&#233;matographique de plusieurs cin&#233;astes et artistes portugais. Autant les liens semblent nets entre le cinema novo et le cin&#233;ma de la r&#233;volution, autant le lien entre le cin&#233;ma portugais des ann&#233;es soixante et soixante-dix et celui des ann&#233;es qui ont suivi reste &#224; explorer.Pour Paul Ricoeur, &#171; repenser doit &#234;tre une forme d&#8217;annuler la distance temporelle &#187;. Repenser la r&#233;volution ce serait alors la rendre pr&#233;sente, vivante, rapprochant le pr&#233;sent et le pass&#233;, interrogeant aussi les effets du passage du temps sur les images, les r&#233;cits et le cin&#233;ma lui-m&#234;me, comme dispositif historique. Presque quarante ans apr&#232;s la R&#233;volution des &#339;illets, il est urgent de revisiter son histoire, d&#8217;analyser ses traces, ses mythes, ses m&#233;moires, tout comme le travail de sa g&#233;n&#233;alogie par le cin&#233;ma portugais contemporain. Au moment d&#8217;une crise &#233;conomique et politique profonde au Portugal qui met en cause les fondements m&#234;mes de la d&#233;mocratie d&#8217;Avril, travailler cet h&#233;ritage, c&#8217;est peut-&#234;tre faire du pr&#233;sent la force inaugurale d&#8217;une autre histoire &#224; venir.Prenant le cin&#233;ma de la r&#233;volution comme un point nodal et un tournant historique majeur, quels liens, autres que r&#233;f&#233;rentiels et chronologiques, unissent le cin&#233;ma portugais d&#8217;avant la r&#233;volution et celui d&#8217;apr&#232;s la r&#233;volution ? Autrement dit, comment cette id&#233;e de &#171; r&#233;volution &#187; traverse, irrigue, &#233;claire le cin&#233;ma portugais ?Modalit&#233;s de candidatureQuarante ans apr&#232;s la r&#233;volution des &#339;illets au Portugal, ce colloque se propose de r&#233;unir un ensemble d&#8217;intervenants, chercheurs et cin&#233;astes, autour de la question de la repr&#233;sentation cin&#233;matographique de la r&#233;volution et de la persistance de ses formes et figures dans le cin&#233;ma portugais contemporain.Les contributions se feront sous la forme d&#8217;interventions orales de vingt minutes, suivies d'une dizaine de minutes d'&#233;change. Il sera recommand&#233; d&#8217;&#233;laborer une r&#233;flexion th&#233;orique &#224; partir d&#8217;objets d&#8217;&#233;tude concrets et clairement identifi&#233;s et selon les axes suivants :1. La repr&#233;sentation cin&#233;matographique de l&#8217;&#233;v&#233;nement r&#233;volutionnaire2. La r&#233;volution pens&#233;e par le cin&#233;ma portugais : cons&#233;quences esth&#233;tiques de la r&#233;volution3. Contexte de production, politiques de diffusion4. M&#233;moire et r&#233;&#233;critures filmiques5. Un cin&#233;ma portugais d&#8217;intervention contemporain : continuit&#233; et ruptureLes propositions d&#8217;intervention, en fran&#231;ais, portugais ou anglais, sont &#224; remettre &#224; l&#8217;adresse mail suivante : colloquecinemaportugais@gmail.compour le mercredi 15 janvier 2014.Il vous sera demand&#233; l&#8217;intitul&#233; de votre intervention, un r&#233;sum&#233; du contenu de votre pr&#233;sentation orale (500 mots environ), une bibliographie indicative ainsi qu&#8217;une biographie (150 mots) indiquant votre institution de rattachement. Les propositions de communication re&#231;ues seront examin&#233;es par le comit&#233; scientifique et les postulants recevront une r&#233;ponse d&#233;but f&#233;vrier. Les communications feront l&#8217;objet d&#8217;une publication ult&#233;rieure.Le colloque se d&#233;roulera les&#160;10, 11 et 12 mars 2014.Comit&#233; scientifiqueNicole Brenez (Universit&#233; Sorbonne Nouvelle - Paris 3),Teresa Castro (Universit&#233; Sorbonne Nouvelle - Paris 3),Susana de Sousa Dias (Universidade de Lisboa r&#233;alisatrice),Raquel Varela (Universidade Nova de Lisboa),Raquel Schefer (Universit&#233; Sorbonne Nouvelle - Paris 3),Jos&#233; Filipe Costa (r&#233;alisateur),Philippe Dubois (Universit&#233; Sorbonne Nouvelle - Paris 3),Benjamin L&#233;on (Universit&#233; Sorbonne Nouvelle - Paris 3),Micka&#235;l Robert-Gon&#231;alves (Universit&#233; Sorbonne Nouvelle - Paris 3).PartenairesInstitut de recherche sur le cin&#233;ma et l'audiovisuel (IRCAV) - Institut National d&#8217;Histoire de l&#8217;Art (INHA) - Fondation Calouste Gulbenkian (d&#233;l&#233;gation &#224; Paris) - Festival Cin&#233;ma du R&#233;el - Groupe de recherche en histoire et esth&#233;tique du documentaire (GRHED&#160;- Universit&#233; Paris 1 Panth&#233;on-Sorbonne) - Association de chercheurs sur l&#8217;image en mouvement (AIM, Portugal).&#8220;H&#225; muito que a Hist&#243;ria (relato m&#237;tico da Humanidade sobre si pr&#243;pria) deixou de ser o seu espelho veros&#237;mil&#8221;.&#160;Eduardo Louren&#231;o&#160;&#8220;Retornar&#8221;Por ocasi&#227;o do quadrag&#233;simo anivers&#225;rio da Revolu&#231;&#227;o de Abril, o col&#243;quio internacional &#8220;Revolu&#231;&#227;o e cinema: o exemplo portugu&#234;s&#8221; pretende debru&#231;ar-se sobre a representa&#231;&#227;o cinematogr&#225;fica do acontecimento desde 1974 at&#233; &#224; actualidade. A palavra &#8220;revolu&#231;&#227;o&#8221; &#233; aqui entendida no sentido primeiro e etimol&#243;gico de &#8220;rota&#231;&#227;o&#8221;, &#8220;giro&#8221; e &#8220;retorno&#8221;.Retornar ao passado, revisitar a mem&#243;ria, nas imagens de 48 de Susana de Sousa Dias. Hist&#243;rias de pris&#227;o e tortura s&#227;o contadas neste filme atrav&#233;s de fotografias antropom&#233;tricas da PIDE e de testemunhos de antigos presos pol&#237;ticos do Estado Novo, de vozes que v&#234;m da penumbra luminosa dos arquivos, vozes hesitantes de um presente que n&#227;o esquece.A palavra &#8220;retornar&#8221; &#233; entendida tamb&#233;m na acep&#231;&#227;o de &#8220;voltar em sentido contr&#225;rio&#8221;, &#224; semelhan&#231;a do que em 48 acontece com as imagens do inimigo: as imagens da ditadura s&#227;o convertidas em formas de express&#227;o de uma mem&#243;ria persistente e activa, dando consist&#234;ncia ao indiz&#237;vel e ao invis&#237;vel, ao tempo complexo da hist&#243;ria.Retornar, por fim, no sentido de &#8220;voltar atr&#225;s&#8221;, de n&#227;o cessar jamais de propor novos tratamentos visuais dos motivos do mundo tal como &#233; vivido e apreendido.Revolu&#231;&#227;o, poder e cria&#231;&#227;oO cinema da Revolu&#231;&#227;o de Abril &#233; herdeiro do Cinema Novo da d&#233;cada de 60, do cinema de uma gera&#231;&#227;o de cineastas em ruptura com o conformismo vigente durante o Estado Novo. Entre o fim da d&#233;cada de 50 e o in&#237;cio da d&#233;cada de 60, s&#227;o v&#225;rios os elementos que contribuem para a emerg&#234;ncia do Cinema Novo. O primeiro desses elementos &#233; o aparecimento de uma nova gera&#231;&#227;o de cin&#233;filos formada nos cineclubes e pela cr&#237;tica cinematogr&#225;fica. Alguns desses jovens recebem bolsas de estudos para frequentar escolas de cinema no estrangeiro, como o IDHEC (hoje, a F&#233;mis), em Paris, ou a London Film School, em Londres. Ant&#243;nio da Cunha Telles, uma das figuras mais importantes dessa gera&#231;&#227;o, produziu os primeiros filmes do Cinema Novo. Em 1968, &#233; publicado um texto fundamental: &#8220;O Of&#237;cio do Cinema em Portugal&#8221;. Depois de cerca de um ano de negocia&#231;&#245;es, a Funda&#231;&#227;o Calouste Gulbenkian decide financiar a primeira cooperativa de cineastas portugueses, o Centro Portugu&#234;s de Cinema (CPC). As primeiras produ&#231;&#245;es dos &#8220;anos Gulbenkian&#8221; estreiam entre 1971 e 1972. A cria&#231;&#227;o da primeira cooperativa de realizadores e as suas produ&#231;&#245;es, quase sempre censuradas ou mal recebidas durante a Primavera Marcelista, s&#227;o sintom&#225;ticas quer da desagrega&#231;&#227;o do regime, quer da possibilidade - &#233; certo que requerendo uma grande dose de discri&#231;&#227;o, abnega&#231;&#227;o, organiza&#231;&#227;o e unidade - de produzir imagens de outro tipo, logo, de criar outro cinema.A conquista da liberdade de cria&#231;&#227;o travava-se, ent&#227;o, atrav&#233;s de actos, mas tamb&#233;m atrav&#233;s de imagens. Os cineastas da revolu&#231;&#227;o eram maioritariamente militantes ou autores engajados, sens&#237;veis &#224; situa&#231;&#227;o sociopol&#237;tica do Pa&#237;s. Os filmes da revolu&#231;&#227;o surgem dentro de estruturas espec&#237;ficas - cooperativas de cineastas, como a Cinequipa, a Cinequanon ou o Grupo Zero -, algumas delas fundadas antes do 25 de Abril. Entre Abril de 1974 e Novembro de 1975, mais de cem filmes s&#227;o realizados. Depois do PREC, a produ&#231;&#227;o de obras cinematogr&#225;ficas dentro desta linha de continuidade persiste - &#233; o caso de Bom Povo Portugu&#234;s, formid&#225;vel filme de montagem de Rui Sim&#245;es, finalizado em 1980.&#8220;...um cinema do deslizamento para a frente&#8221;Um tal trabalho da imagem, capaz de perturbar o regime e os seus dogmas, leva-nos a destacar o poder pol&#237;tico do cinema. A an&#225;lise da efic&#225;cia pol&#237;tica do cinema feita por Dominique Noguez poderia ser aplicada ao cinema portugu&#234;s do per&#237;odo compreendido entre 1970 e a Revolu&#231;&#227;o de Abril. Em Le Cin&#233;ma autrement, Noguez considera que a efic&#225;cia pol&#237;tica do cinema &#233; sempre limitada, na medida em que depende do p&#250;blico visado. Entendendo que a efic&#225;cia pol&#237;tica deve passar em primeiro lugar pela milit&#226;ncia quotidiana, Noguez define os seus quatro modos. Os filmes do Cinema Novo portugu&#234;s censurados pelo regime poderiam aproximar-se do quarto modo, o cinema prospectivo. &#8220;&#201; um cinema do deslizamento para a frente&#8221;, escreve o autor, isto &#233;, um cinema premonit&#243;rio. N&#227;o se trata, todavia, de outorgar retrospectivamente ao cinema uma for&#231;a pol&#237;tica que n&#227;o estivesse nele j&#225; contida. A emerg&#234;ncia do cinema da revolu&#231;&#227;o n&#227;o &#233;, portanto, fruto de uma modifica&#231;&#227;o brutal do campo de possibilidades, resultando mais bem de uma din&#226;mica latente, crescente, convulsiva. Num artigo de s&#237;ntese publicado em 2004, Lauro Ant&#243;nio sublinha que o cinema portugu&#234;s pr&#233;-revolucion&#225;rio &#233; um claro &#237;ndice da deteriora&#231;&#227;o do regime: filmes como O Mal-Amado (1973) de Fernando Matos Silva, Brandos Costumes (1974) de Alberto Seixas Santos ou Sofia e a Educa&#231;&#227;o Sexual (1973) de Eduardo Geada eram pura e simplesmente &#8220;impens&#225;veis&#8221; antes da morte de Salazar.Representar, actualizar e reconfigurar o realO cinema portugu&#234;s contempor&#226;neo defronta-se com a quest&#227;o de como representar a revolu&#231;&#227;o, de como reactivar o tempo da revolu&#231;&#227;o no presente, presentificando-a, arrancando-a ao distanciamento do passado e do arquivo e conferindo for&#231;a pol&#237;tica objectiva e cr&#237;tica &#224;s imagens do 25 de Abril. Se a travessia da hist&#243;ria constitui uma opera&#231;&#227;o cr&#237;tica por excel&#234;ncia e se o m&#233;todo historiogr&#225;fico comporta necessariamente um processo de identifica&#231;&#227;o com os acontecimentos do passado, para os cineastas portugueses, sobretudo para aqueles que cresceram ou nasceram depois do 25 de Abril, a exist&#234;ncia de um t&#227;o vasto arquivo e de um corpus cinematogr&#225;fico extraordin&#225;rio coloca o problema mais al&#233;m de qualquer historicismo.Est&#225; em quest&#227;o, em primeiro lugar, trabalhar a hist&#243;ria da revolu&#231;&#227;o, as suas mem&#243;rias vivas, mas igualmente representar o passado atrav&#233;s da sua genealogia cinematogr&#225;fica; &#233; o que faz, por exemplo, Ginette Lavigne, que viveu em Lisboa durante o PREC, em A Noite do Golpe de Estado (2001), onde Otelo Saraiva de Carvalho reconstitui, em est&#250;dio, as manobras de coordena&#231;&#227;o estrat&#233;gica da noite de 24 para 25 de Abril de 1974. A reconstitui&#231;&#227;o &#233; aqui trabalhada como figura da descontinuidade e do anacronismo.A mem&#243;ria da Revolu&#231;&#227;o dos Cravos continua, portanto, a alimentar o imagin&#225;rio cinematogr&#225;fico de diversos cineastas e artistas portugueses e estrangeiros. No entanto, a liga&#231;&#227;o entre o cinema portugu&#234;s dos anos sessenta e setenta e o cinema dos anos que se seguem &#233; um terreno que permanece quase inexplorado.Para Paul Ric&#339;ur, &#8220;repensar deve ser uma forma de anular a dist&#226;ncia temporal&#8221;. Repensar a revolu&#231;&#227;o equivaleria ent&#227;o a torn&#225;-la presente, viva, aproximando o presente e o passado e interrogando os efeitos da passagem do tempo sobre as imagens, as narrativas e o pr&#243;prio cinema, enquanto dispositivo hist&#243;rico. Quase 40 anos depois da Revolu&#231;&#227;o de Abril, &#233; urgente revisitar a sua hist&#243;ria, analisar os seus tra&#231;os, mitos e mem&#243;rias, determinar a forma como a sua genealogia atravessa o cinema portugu&#234;s. Num momento de crise econ&#243;mica e pol&#237;tica profunda em Portugal, crise que p&#245;e em causa os fundamentos da democracia criada pelo 25 de Abril, voltar a essa heran&#231;a poder&#225;, talvez, fazer do presente a for&#231;a inaugural de uma hist&#243;ria por vir.Tomando o cinema da revolu&#231;&#227;o como ponto nodal e marco hist&#243;rico maior, que elos, al&#233;m dos referenciais e cronol&#243;gicos, unem o cinema portugu&#234;s pr&#233;-revolucion&#225;rio ao cinema da revolu&#231;&#227;o e ao cinema posterior? Em que sentido &#233; o cinema portugu&#234;s atravessado e irrigado pela ideia de &#8220;revolu&#231;&#227;o&#8221;?Modalidades de candidaturaAssinalando o quadrag&#233;simo anivers&#225;rio da Revolu&#231;&#227;o de Abril em Portugal, o col&#243;quio tem por objectivo reunir uma s&#233;rie de intervenientes, investigadores e cineastas em torno da quest&#227;o da representa&#231;&#227;o cinematogr&#225;fica da revolu&#231;&#227;o e da persist&#234;ncia das suas formas e figuras no cinema portugu&#234;s contempor&#226;neo.A apresenta&#231;&#227;o dos trabalhos ter&#225; lugar em apresenta&#231;&#245;es orais de vinte minutos, seguidas de dez minutos de discuss&#227;o. Recomenda-se que a reflex&#227;o te&#243;rica seja elaborada a partir de objectos de estudo concretos e claramente identificados, segundo os seguintes eixos tem&#225;ticos:1. A representa&#231;&#227;o cinematogr&#225;fica do acontecimento2. O pensamento da revolu&#231;&#227;o pelo cinema portugu&#234;s: consequ&#234;ncias est&#233;ticas da Revolu&#231;&#227;o de Abril3. Contexto de produ&#231;&#227;o; pol&#237;ticas de difus&#227;o4. Mem&#243;ria e reescritas f&#237;lmicas5. O cinema pol&#237;tico portugu&#234;s contempor&#226;neo: continuidade e rupturaAs propostas de trabalhos devem ser enviadasat&#233; ao dia15 de Janeiro de 2014para a direc&#231;&#227;o de email: colloquecinemaportugais@gmail.comDever&#227;o ser redigidas em portugu&#234;s, franc&#234;s ou ingl&#234;s econter o t&#237;tulo da comunica&#231;&#227;o, um abstract (500 palavras), uma bibliografia indicativa e uma nota biogr&#225;fica (150 palavras) indicando a institui&#231;&#227;o de afilia&#231;&#227;o. As propostas recebidas ser&#227;o examinadas pela comiss&#227;o cientifica. Os candidatos ser&#227;o informados da decis&#227;o dessa comiss&#227;o at&#233; ao dia 1 de Fevereiro de 2014. Os trabalhos apresentados ser&#227;o publicados ap&#243;s o col&#243;quio.O col&#243;quio decorrera nos dias&#160;10, 11, 12 de Mar&#231;o de 2014.Comit&#233; cient&#237;ficoNicole Brenez (Universit&#233; Sorbonne Nouvelle - Paris 3),Teresa Castro (Universit&#233; Sorbonne Nouvelle - Paris 3),Susana de Sousa Dias (Universidade de Lisboa, realizadora),Raquel Varela (Universidade Nova de Lisboa),Raquel Schefer (Universit&#233; Sorbonne Nouvelle - Paris 3),Philippe Dubois (Universit&#233; Sorbonne Nouvelle - Paris 3),Jos&#233; Filipe Costa (realizador),Benjamin L&#233;on (Universit&#233; Sorbonne Nouvelle - Paris 3),Micka&#235;l Robert-Gon&#231;alves (Universit&#233; Sorbonne Nouvelle - Paris 3.ParceirosInstitut de recherche sur le cin&#233;ma et l'audiovisuel (IRCAV, Universit&#233; Sorbonne Nouvelle - Paris 3) - Institut National d&#8217;Histoire de l&#8217;Art (INHA) - Funda&#231;&#227;o Calouste Gulbenkian (delega&#231;&#227;o em Paris) - Festival Cin&#233;ma du R&#233;el - Groupe de recherche en histoire et esth&#233;tique du documentaire (GRHED&#160;- Universit&#233; Paris 1 Panth&#233;on-Sorbonne) - Associa&#231;&#227;o de Investigadores da Imagem em Movimento (AIM, Portugal).&#8220;History (the mythical story of humanity about itself) has long sinceceased to be its likely mirror.&#8221;Eduardo Louren&#231;oTo &#8220;return&#8221;In honour of the fortieth anniversary of the Carnation Revolution, this three-day international conference seeks to interrogate the cinematic representation of the political event from 1974 to today. The conference&#8217;s first aim is to take the word &#8220;revolution&#8221; in its primary and etymological sense of &#8220;return.&#8221;A return to the past, to a revisited memory, through the images of Susana Sousa Dias&#8217; film, 48, which uses the PIDE&#8217;s (International and State Defense Police) &#8211; an effective organ of repression &#8211; anthropometric photographic images to broach the practices of torture during the forty-eight years of Salazar&#8217;s dictatorship. A return as well to the testimonies of prisoners, voices emerging from the illuminating shadows of these painful archives, hesitant voices of a present that does not forget.To return also in the sense of overturning. In 48, the dictatorship&#8217;s &#8212; the enemy&#8217;s images &#8212; create new forms of expression of a persistent and active memory in order to give consistency to the unspeakable and the invisible, to the complex temporalities of history.Finally, to return, as in, &#8220;to turn again,&#8221; meaning to never give up on the idea of proposing new visual treatments and motifs of the world as it is experienced and perceived.Revolution, power and creationTo affix the word &#8220;revolution&#8221; to the term &#8220;cinema&#8221; logically leads back to the cinema of the 1970s, which itself inherits, in a certain way, the 1960s Cinema Novo&#8217;s (New Cinema) distinctive characteristics. Cinema Novo embraces a generation of Portuguese filmmakers who broke with the prevailing conformism under the dictatorship. Indeed, several elements intersect in the late 1950s and early 1960s. The first of these elements is the emergence of a new generation of cinephiles who were prepared by film clubs and film criticism, and several of whom were awarded Film Council scholarships to study abroad (Paris, London, Brussels). In 1968, following the Oporto Film Club&#8217;s &#8220;New Portuguese Cinema Week,&#8221; an important document was elaborated: &#8220;O Of&#237;cio do Cinema em Portugal&#8221; (&#8220;The Craft of Cinema in Portugal&#8221;). From that moment on and after about a year of negotiations, the Calouste Gulbenkian Foundation decided to fund the Portuguese Centre of Cinema (CPC), the first cooperative of Portuguese filmmakers. The creation of the cooperative, which brought together filmmakers, as well as the CPC&#8217;s early productions, which were often censored or undermined by Marcello Caetano (who came to power as a result of Ant&#243;nio Salazar&#8217;s infirmity in 1968), are indicative of the regime&#8217;s collapse, as well as of the possibility, under the guise of discretion, abnegation, organization and unity, to produce other images, and, therefore, another cinema.&#171;The conquest of a free creation was at once achieved through these acts and images. If not activists, the filmmakers of the revolution were mostly committed individuals who were sensitive to the social and political situation of their country. The films of the Portuguese Revolution were produced within particular structures &#8212; including filmmaking cooperatives such as Cinequipa, Cinequanon, Grupo Zero &#8212;, some of which were founded before 25 April 1974. During the revolutionary period, that is, between April 1974 and November 1975, more than one hundred films were made. After 1975, many other films continued to be made &#8220;in the spirit&#8221; of the revolution &#8212; it is the case of Rui Sim&#245;es&#8217; 1980 montage film, Bom Povo Portugu&#234;s (Good Portuguese People).&#8220;...a cinema of the forward movement&#8221;In light of this image work, which disrupted the regime and its dogmas, it seems appropriate to underline cinema&#8217;s political power. Therefore, Dominique Noguez&#8217;s writings on the political efficiency of cinema offer a possible understanding of the Portuguese film movement between the early 1970s and the revolution. In Le Cin&#233;ma autrement, Noguez points out that film&#8217;s political efficiency is indeed always limited, since it depends very much on the target audience. While political efficiency is found in everyday activism, Noguez defines four modes of unequivocal political effectiveness. The forth mode possibly corresponds to the New Portuguese Cinema which was censored by the regime: the prospective cinema. &#8220;This cinema,&#8221; writes Noguez, &#8220;is a cinema of the forward movement;&#8221; it is even a premonitory cinema. However, it is not a question of retrospectively attributing a political strength to this cinema that it did not already contain. The emergence of the cinema of the revolution is therefore not the result of a sudden change in the field of possibilities, rather it derives from a latent, growing and convulsive dynamic. In a review paper published in 2004, the critic Lauro Ant&#243;nio states that the Portuguese pre-revolutionary cinema is an important index of the regime&#8217;s deterioration: Fernando Matos Silva&#8217;s The Unloved (O Mal-Amado, 1973), Alberto Seixas Santos&#8217; Gentle Morals (Brandos Costumes, 1974) or Eduardo Geada&#8217;s Sofia and Sexual Education (Sofia e a Educa&#231;&#227;o Sexual, 1973) were simply &#8220;unthinkable&#8221; before the death of Salazar.Representing, updating and reconfiguring the realIn contemporary Portuguese cinema, the question is to know how to represent the revolution. How can the revolution&#8217;s temporality be reconfigured in the present? How can it be made present and not past? How can the archives of the revolution&#8217;s political strength be restored? If the crossing of history is always a critical operation and if the historical approach implies a process of identification with past events, for contemporary Portuguese filmmakers &#8212; especially the children of the revolution &#8212; these vast archives and this impressive cinematic corpus place the question outside of the reach of any historicism.Naturally, it is a matter of considering the history of the revolution as well as its living memories, but the representation of the past with respect to this film heritage is also at stake. composed by the films directed during the revolutionary period. In The Night The Dictatorship Fell: Lisbon, 4/1974 (A Noite do Golpe de Estado), Ginette Lavigne &#8211; who lived in Lisbon during the PREC (&#8220;Processo Revolucion&#225;rio em Curso&#8221; or Ongoing Revolutionary Process) &#8211; reenacts the coup d'&#233;tat's strategic coordination led by Otelo Saraiva de Carvalho. Here, reenactement becomes a figure of discontinuity and anachronism.Memories of the so-called Carnation Revolution continue to nourish the cinematic imaginary of many Portuguese filmmakers and artists. While the links between Cinema Novo and the cinema of the revolution seem clear, the relationship between these cinemas is yet to be explored.Paul Ric&#339;ur states that &#8220;rethinking is a form that cancels temporal distance.&#8221; To rethink the revolution would then entail making the revolution present, making it come alive, bringing the past and the present together, questioning the effects of the passing of time on the images, the narratives and on cinema itself as an historical device. Nearly forty years after the Carnation Revolution, it is urgent to reexamine its history, to analyze its traces, myths and memories as much as its genealogy in contemporary Portuguese cinema. Today&#8217;s acute economic and political crisis in Portugal shakes the very foundations of April&#8217;s democracy, and this legacy could perhaps use the present as the inaugural strength of another history to come.Taking the cinema of revolution as a nodal point and as a major historical shift, which links &#8211; other than referential and chronological ones &#8211;, unify the pre- and post-revolutionary Portuguese cinemas? In other words, how can this idea of &#8220;revolution&#8221; remain, irrigate and illuminate Portuguese cinema?Raquel Schefer &#38; Micka&#235;l Robert-Gon&#231;alvesSubmission modalitiesForty years after the Carnation Revolution in Portugal, this conference proposes to bring together a range of speakers (researchers and filmmakers) to debate the cinematic representation of the revolution and the persistence of certain forms and figures in contemporary Portuguese cinema.Oral presentations will not exceed twenty minutes and will be followed by ten minutes of discussion. All speakers are recommended to develop a theoretical reflection departing from concrete and clearly identified objects of study. Papers may address, but are not limited to, one of the following topics:The cinematic representation of the revolutionary event.The revolution according to the Portuguese cinema: aesthetic consequences of the revolutionContext of production, politics of distributionMemory and filmic rewritingAn engaged contemporary Portuguese cinema: continuity and rupturePlease submit proposals &#8211; in English, French or Portuguese &#8211; for individual papers presentation before Wednesday, January 15, 2014 to the following email address: colloquecinemaportugais@gmail.com.All speakers are encouraged to provide a title, an abstract (around 500 words), key bibliographical references and a short biography (150 words). The Scientific Board will review proposals and announce their decision at the beginning of February. The papers may be published.The congress will take place on&#160;10, 11, 12 March 2014Scientific Board:Nicole Brenez (Universit&#233; Sorbonne Nouvelle - Paris 3),Teresa Castro (Universit&#233; Sorbonne Nouvelle - Paris 3),Susana de Sousa Dias (Universidade de Lisboa, Universit&#233; Sorbonne Nouvelle - Paris 3, filmmaker),Raquel Varela (Universidade Nova de Lisboa),Raquel Schefer (Universit&#233; Sorbonne Nouvelle - Paris 3),Philippe Dubois (Universit&#233; Sorbonne Nouvelle - Paris 3),Jos&#233; Filipe Costa (filmmaker), Benjamin L&#233;on (Universit&#233; Sorbonne Nouvelle - Paris 3),Micka&#235;l Robert-Gon&#231;alves (Universit&#233; Sorbonne Nouvelle - Paris 3).Official partners:Institut de recherche sur le cin&#233;ma et l'audiovisuel (IRCAV) -French National Institute of Art History (INHA) - Calouste Gulbenkian Foundation (French delegation) - Cin&#233;ma du R&#233;el International Documentary Film Festival - Groupe de recherche en histoire et esth&#233;tique du documentaire (GRHED - Universit&#233; Paris 1 Panth&#233;on-Sorbonne) - Association of Researchers of the Moving Image (AIM, Portugal).