Resumo

Heritage cinema has been the most relevant forum for debate around the reconfiguration of cinephilia. Especially in an era dominated by successive technological challenges responsible for the reconfiguration of the cinematic landscape. From digital reconversion emerge new practices and methodologies, expanding the diversity of the film archive. We propose to investigate the different articulations in which the FILMar project mediates the history and diversity of the national archive. Recovering the urgency of industrial cinema and even the reflection of colonialism in cinema, we focus on the works of future authors who found in ‘useful cinema’ and in ‘industrial cinema’ a decisive space for experimentation at the beginning of their careers. These are the cases of José Fonseca e Costa, António de Macedo, Fernando Lopes and Fernando Matos Silva. In this intersection with the past, the film practices of the 20th century are mediated and interconnected in a collective and interdisciplinary way .