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1 Cinema
Portuguese cinema had its debut in June 1896 at the Royal Coliseum, Lisbon, only six months after the pioneering French cinema-makers, the brothers Lumiere, introduced the earliest motion pictures to Paris audiences. Cinema pioneers in Portugal included photographer Manuel Maria da Costa Veiga and an early enthusiast, Aurelio da Paz dos Reis. The first movie theater opened in Lisbon in 1904, and most popular were early silent shorts, including documentaries and scenes of King Carlos I swimming at Cascais beach. Beginning with the Invicta Film company in 1912 and its efforts to produce films, Portuguese cinema-makers sought technical assistance in Paris. In 1918, French film technicians from Pathé Studios of Paris came to Portugal to produce cinema. The Portuguese writer of children's books, Virginia de Castro e Almeida, hired French film and legal personnel in the 1920s under the banner of "Fortuna Film" and produced several silent films based on her compositions.In the 1930s, Portuguese cinema underwent an important advance with the work of Portuguese director-producers, including AntônioLopes Ribeiro, Manoel de Oliveira, Leitao de Barros, and Artur Duarte. They were strongly influenced by contemporary French, German, and Russian cinema, and they recruited their cinema actors from the Portuguese Theater, especially from the popular Theater of Review ( teatro de revista) of Lisbon. They included comedy radio and review stars such as Vasco Santana, Antônio Silva, Maria Matos, and Ribeirinho. As the Estado Novo regime appreciated the important potential role of film as a mode of propaganda, greater government controls and regulation followed. The first Portuguese sound film, A Severa (1928), based on a Julio Dantas book, was directed by Leitão de Barros.The next period of Portuguese cinema, the 1930s, 1940s, and much of the 1950s, has been labeled, Comédia a portuguesa, or Portuguese Comedy, as it was dominated by comedic actors from Lisbon's Theatre of Review and by such classic comedies as 1933's A Cancáo de Lisboa and similar genre such as O Pai Tirano, O Pátio das Cantigas, and A Costa do Castelo. The Portuguese film industry was extremely small and financially constrained and, until after 1970, only several films were made each year. A new era followed, the so-called "New Cinema," or Novo Cinema (ca. 1963-74), when the dictatorship collapsed. Directors of this era, influenced by France's New Wave cinema movement, were led by Fernando Lopes, Paulo Rocha, and others.After the 1974-75 Revolution, filmmakers, encouraged by new political and social freedoms, explored new themes: realism, legend, politics, and ethnography and, in the 1980s, other themes, including docufiction. Even after political liberty arrived, leaders of the cinema industry confronted familiar challenges of filmmakers everywhere: finding funds for production and audiences to purchase tickets. As the new Portugal gained more prosperity, garnered more capital, and took advantage of membership in the burgeoning European Union, Portuguese cinema benefited. Some American producers, directors, and actors, such as John Malkovich, grew enamored of residence and work in Portugal. Malkovich starred in Manoel de Oliveira's film, O Convento (The Convent), shot in Portugal, and this film gained international acclaim, if not universal critical approval. While most films viewed in the country continued to be foreign imports, especially from France, the United States, and Great Britain, recent domestic film production is larger than ever before in Portugal's cinema history: in 2005, 13 Portuguese feature films were released. One of them was coproduced with Spain, Midsummer Dream, an animated feature. That year's most acclaimed film was O Crime de Padre Amaro, based on the Eça de Queirós' novel, a film that earned a record box office return. In 2006, some 22 feature films were released. With more films made in Portugal than ever before, Portugal's cinema had entered a new era. -
2 Miguel I, king
(1802-1866)The third son of King João VI and of Dona Carlota Joaquina, Miguel was barely five years of age when he went to Brazil with the fleeing royal family. In 1821, with his mother and father, he returned to Portugal. Whatever the explanation for his actions, Miguel always took Carlota Joaquina's part in the subsequent political struggles and soon became the supreme hope of the reactionary, clerical, absolutist party against the constitutionalists and opposed any compromise with liberal constitutionalism or its adherents. He became not only the symbol but the essence of a kind of reactionary messianism in Portugal during more than two decades, as his personal fortunes of power and privilege rose and fell. With his personality imbued with traits of wildness, adventurism, and violence, Miguel enjoyed a life largely consumed in horseback riding, love affairs, and bull- fighting.After the independence of Brazil (1822), Miguel became the principal candidate for power of the Traditionalist Party, which was determined to restore absolutist royal power, destroy the constitution, and rule without limitation. Miguel was involved in many political conspiracies and armed movements, beginning in 1822 and including the coups known to history as the "Vila Francada" (1823) and the "Abrilada" (1824), which were directed against his father King João VI, in order to restore absolutist royal power. These coup conspiracies failed due to foreign intervention, and the king ordered Miguel dismissed from his posts and sent into exile. He remained in exile for four years. The death of King João VI in 1826 presented new opportunities in the absolutist party, however, and the dashing Dom Miguel remained their great hope for power.His older brother King Pedro IV, then emperor of Brazil, inherited the throne and wrote his own constitution, the Charter of 1826, which was to become the law of the land in Portugal. However, his daughter Maria, only seven, was too young to rule, so Pedro, who abdicated, put together an unusual deal. Until Maria reached her majority age, a regency headed by Princess Isabel Maria would rule Portugal. Dom Miguel would return from his Austrian exile and, when Maria reached her majority, Maria would marry her uncle Miguel and they would reign under the 1826 Charter. Miguel returned to Portugal in 1828, but immediately broke the bargain. He proclaimed himself an absolutist King, acclaimed by the usual (and last) Cortes of 1828; dispensed with Pedro's Charter; and ruled as an absolutist. Pedro's response was to abdicate the emperorship of Brazil, return to Portugal, defeat Miguel, and place his young daughter on the throne. In the civil war called the War of the Brothers (1831-34), after a seesaw campaign on land and at sea, Miguel's forces were defeated and he went into exile, never to return to Portugal.
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