With the outbreak of World War II, cinema took on a particularly important role, as instrument of the regime's foreign propaganda, privileged ambassador of Portugal abroad. In this context, of the early forties, and of the national propaganda’s foreign policy - through the National Propaganda Office (SPN) directed by António Ferro - stood out the cultural relations established with Brazil and Spain, in what was understood as a "crusade of Lusitanity”, taking the cinema a relevant role for the Atlantic projection of the Nation.

Vanishing Point (Richard C. Sarafian, 1971), Two-lane Blacktop (Monte Hellmann, 1971) and Badlands (Terrence Malick, 1973) are road movies that incorporate distinctive journeys, which, at a certain moment, become similar. Their heroes act as non-mystical pilgrims to whom the trip is a journey in itself, even if they come up as a chase, a car race or an escape from the police.In a filmic genre built from the spatial element, the road life structures each narrative in each film. In this way, the moment when the journey looses its teleological sense acquires even more relevance, allowing us to understand the genre’s space dynamics with a different depth.In this essay, I will analyse comparatively the ways through which characters and directors relate to the scenery/landscape, in order to identify ideological constraints related to space, i.e., those symbolic limitations the road movie seems to conceal. Easy Rider (Dennis Hopper, 1969) will be a constant presence since, as the inaugural road movie, it has determined the genre’s underlying forces.

This text takes as a central subject of investigation the documentary film Video Letter (1982), by Shuji Terayama and Shuntaro Tanikawa, inquiring its technical procedures and thematic approaches in parallel with a Jacques Derrida’s essay which is built around a fictional text,L’instant de ma mort, by Maurice Blanchot. The approximation between these two works permits us, despite their differences – one, a video work, the other, a literary text, - explore issues associated with the instant, dead, memory, and the relations inscribing the factual and the fictional, writing and image, as well as conceive new forms of temporality proceeding through the fragmentation and the interruption of the univocal diegetic structures. We try to suggest, by this mean, the privilege of processes related with editing and cut, assessing the emergence of points and singular instants which, being normally attached to the consideration of the still image, ultimately participate and profusely determine the reconstitution and reevaluation of the filmic structure and the image in motion.

This essay analyzes the structure of Mysteries of Lisbon by reconstructing its story in chronological sequence and by examining how in place of the single character striving to achieve a goal or solve a puzzle as one would expect to discover at the heart of the typical classical Hollywood film, Mysteries of Lisbon employs an unusual, echoing structure between the film’s two parts that tightly interrelates the actions of multiple characters who appear otherwise to be related merely by apparent coincidence.

This article analysis the production of experimental films made by Cineclube Antonio das Mortes (CAM) in 1980, in Goiania, Through the term "independent film". This work is an initial study, therefore, it’s intended, first, to discuss the various conceptions given to “independent cinema” in Brazilian cinema history, from the late 1940s until 1980. Then, this work will try to understand how this production of this Cineclube approaches or moves away from the different conceptions that this term has acquired over the decades.

Repeat viewing is a very specific activity practiced foremost by the cinephiliac spectator. Latelly it has become connected with the use of new technologies and the existence of metanarrative or hybrid films. The more complex the moving pictures turn out to be and the more available the technologies of reproduction become, the more chances the metacinema has of satisfying one of the basic needs of the meta-spectator: to get close to the creator by way of the film. Whatever the degree and type of this filmic attraction, one thing is for sure: these spectators have a strong urge to feel that the creation belongs partially to them. Some creators, such as David Lynch, happily oblige.