{"id":2194,"date":"2026-06-06T17:45:09","date_gmt":"2026-06-06T17:45:09","guid":{"rendered":"https:\/\/ilearnup.eu\/tugacine\/?page_id=2194"},"modified":"2026-06-08T22:26:21","modified_gmt":"2026-06-08T22:26:21","slug":"1960-2","status":"publish","type":"page","link":"https:\/\/ilearnup.eu\/tugacine\/1960-2\/","title":{"rendered":"1960"},"content":{"rendered":"\t\t
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O Cinema Novo<\/b><\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Nos anos 60, o des\u00e2nimo cultural do cinema oficial do regime foi\nabalado pelo aparecimento do movimento “Cinema Novo Portugu\u00eas”. Uma\nnova gera\u00e7\u00e3o de realizadores e cin\u00e9filos, muitos deles formados no estrangeiro\ne influenciados pela Nouvelle Vague<\/i> francesa e pelo\nNeo-realismo italiano, decidiu virar as c\u00e2maras para o Portugal real.<\/o:p><\/p>

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Rompendo com as com\u00e9dias artificiais e as epopeias hist\u00f3ricas\nencomendadas pela ditadura, estes autores sa\u00edram dos est\u00fadios para filmar nas\nruas. O foco mudou para os dramas da juventude urbana, a solid\u00e3o das grandes\ncidades, a fratura provocada pela emigra\u00e7\u00e3o e as dificuldades das classes\noper\u00e1rias e piscat\u00f3rias. Era um cinema de protesto velado, po\u00e9tico e\nmelanc\u00f3lico, feito sob o olhar vigilante da censura.<\/o:p><\/p>

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Os cineclubes foram um espa\u00e7o importante para o cinema em Portugal, principalmente\nnos anos 60, onde o cinema e a sua censura se encontravam.<\/o:p><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Exemplos de Filmes\/Projetos<\/b><\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"1962\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Dom Roberto<\/i>, 1962<\/b>

Dirigido por\nErnesto de Sousa, este filme abriu as portas ao realismo social ao acompanhar a\nvida marginalizada de um bonecreiro ambulante em Lisboa. Na sua estreia no\ncinema Imp\u00e9rio, a maior sala de Lisboa<\/span><\/a>,\no filme foi ruidosamente anunciado como sendo um filme novo de um novo cinema.\nFoi selecionado para o Festival de Cannes<\/span><\/a>, mas Ernesto de Sousa foi\nimpedido pela PIDE<\/span><\/a> de\nnele comparecer, tendo sido perseguido e preso.<\/span><\/p>\n\n

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Os Verdes Anos<\/i>, 1963
<\/b>

Realizado\npor Paulo Rocha, \u00e9 a obra fundadora do movimento,  filme \u00e9 not\u00e1vel por sua\nabordagem sens\u00edvel \u00e0s dificuldades enfrentadas pelos jovens que deixavam o\ncampo em busca de uma vida melhor nas cidades, refletindo o \u00eaxodo rural que\ncome\u00e7ou na d\u00e9cada de 1960.<\/span><\/p>\n\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Belarmino<\/i>, 1964<\/b>

Um\ndocument\u00e1rio inovador de Fernando Lopes que utiliza t\u00e9cnicas do cinema\ndireto<\/i> para tra\u00e7ar o retrato psicol\u00f3gico e decadente de um antigo campe\u00e3o\nde boxe.<\/span> Foi um filme <\/span>inspirado\npela Nouvelle Vague<\/span><\/a> francesa mas sempre fiel\nao neo-realismo<\/span><\/a> e foi\npremiado com o Pr\u00e9mio Bordalo.<\/span><\/p>\n\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Figuras Marcantes<\/b><\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Rui Gomes<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Isabel Ruth <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Paulo Rocha<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Fernando Lopes<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Algumas figuras marcantes desta \u00e9poca s\u00e3o os atores Vasco Santana<\/b>, a figura central e mais amada desta era, cujo humor ing\u00e9nuo, desajeitado e carism\u00e1tico moldou a com\u00e9dia nacional para sempre, e Ant\u00f3nio Silva<\/b>, o contraponto perfeito de Vasco Santana, c\u00e9lebre pelas suas personagens autorit\u00e1rias, resmungonas, ir\u00f3nicas e paternalistas.<\/p>

J\u00e1 realizadores falamos de Cottinelli Telmo<\/b>, arquiteto e cineasta que realizou A Can\u00e7\u00e3o de Lisboa<\/i>, fundando a est\u00e9tica visual da com\u00e9dia musical portuguesa. E Leit\u00e3o de Barros<\/b>, um realizador ambicioso e polivalente que dirigiu A Severa<\/i> e v\u00e1rias das maiores superprodu\u00e7\u00f5es hist\u00f3ricas da \u00e9poca.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Continue a viajar pelas v\u00e1rias \u00e9pocas do cinema portugu\u00eas!<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\"tuga.cine<\/a><\/figure>

1896<\/a><\/h3><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"tuga.cine<\/a><\/figure>

1930-40<\/a><\/h3><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"tuga.cine<\/a><\/figure>

1960<\/a><\/h3><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"tuga.cine<\/a><\/figure>

1974<\/a><\/h3><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\"tuga.cine<\/a><\/figure>

1990<\/a><\/h3><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"tuga.cine<\/a><\/figure>

2000<\/a><\/h3><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\"tuga.cine<\/a><\/figure>

2010<\/a><\/h3><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

O Cinema Novo Nos anos 60, o des\u00e2nimo cultural do cinema oficial do regime foi abalado pelo aparecimento do movimento “Cinema Novo Portugu\u00eas”. Uma nova gera\u00e7\u00e3o de realizadores e cin\u00e9filos, muitos deles formados no estrangeiro e influenciados pela Nouvelle Vague francesa e pelo Neo-realismo italiano, decidiu virar as c\u00e2maras para o Portugal real.   Rompendo […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-2194","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/pages\/2194","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/comments?post=2194"}],"version-history":[{"count":79,"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/pages\/2194\/revisions"}],"predecessor-version":[{"id":2915,"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/pages\/2194\/revisions\/2915"}],"wp:attachment":[{"href":"https:\/\/ilearnup.eu\/tugacine\/wp-json\/wp\/v2\/media?parent=2194"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}