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In the last post, I spoke of a documentary film shot by a filmmaker. Nonetheless, many visual productions are actually academic works. When it comes to Portuguese mobilities, scholars have actually been quite fond of documentary filmmaking, and other moving images.As a matter of fact, among the works I started collecting, sociologist Filomena Silvano started to reflect on this flow of migrations through documentary filmmaking as early as 1997. She participated in shooting two movies: Este é a minha casa, and Viagem à Expo, both staging Portuguese emigrants between their French home and Portugal.Manuel Antunes da Cunha published a book (2009) based on his dissertation on the representations of Portuguese migrants in TV shows. He highlights the "success narrative" at work in those programmes.The same year, João Sousa Cardoso defends his thesis on the imaginary of the Portuguese community in France through moving images. His census shows that there were 32 films between 1967 and 2007 on the topic.In her thesis, and I would like to briefly present here the third section, Inês Espirito Santo (2013) looks at two films in particular: O Salto, filmed by Christian de Chalonge in 1967, and La Photo Déchirée of Jose Vieira, filmed in 2001; before she presents her own production J’ai toujours voulu voir plus loin que ce que je voyais.Espirito Santo aims at investigating the representations of "o Salto", the "leap" from Portugal to France, considered illegal by the authorities at the time. She suggests to distinguish between collective memory and individual memory. Moreover, in both the films she studied, she shows the extent to which these works of collective memory contest the institutional memory of o salto, and of this wave of migration, where the Portuguese are lumped together as a docile, hardworking workforce. On the contrary, the films were produced following a political engagement that aimed at raising awareness (towards French nationals for the first, and towards the youth whose parents came from Portugal in the 1960s and 1970s for the second).Vieira's film is also mobilised during her fieldwork. Espirito Santo screens the movie to several of her participants in order to stimulate speech on individual memories of o salto. She raises an interesting point at the end, when she reflects on her methodology: Why do researchers always need to stimulate speech? She offers the idea of the "right to be forgotten", as a counter point to the right to be remembered, brought forward by those taking moving and still pictures. As a matter of fact, she argues that maybe her participants have the right to forget the multiple figures associated with "the portuguese emigrant", a process they have usually underwent in their own biographic reconstruction. This question is very important, I believe, when it comes to the ethics of research methods. At least, I wrote it down to keep reflecting on it for my own project!At the end, she exposes the production of her own film: J’ai toujours voulu voir plus loin que ce que je voyais. Espirito Santo has looked into processes of construction of the biographical memory. Following a previous experience she had, she thought of interviewing two persons who did o salto together, from the northern village of Agrochão to France. However, what strikes her is that both stories seem to document two different experiences, even though they travelled together. I found this technique fascinating - having several people reporting on the same event.In any case, the moving images that scrutinised o salto, a fundamental event in the collective memory of the many Portuguese that lived and live in France, all participate in the production of the emigrant figure. How important is it today? Well, that is something I hope to explore.Moreover, the more I look at the links between research and moving images, the more I am interested in this idea that we, as scholars, also produce discourses that co-exist with institutional, contesting, collective and individual discourses. With this in mind, how to include best the participants? To tell what? To whom? It is a bit overwhelming, but there are many works already done, and many reasons to take this task seriously.