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Copyright of Laocoonte is the property of Sociedad Espanola de Estetica y Teoria de las Artes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article presents some of the main conclusions of a post-doctoral project that focused on the study of film censorship, regarding eroticism and violence, in Portugal, during the period of Marcello Caetano's government (1968-1974). The present article intends to make it known that the most censored drive was Eros, concluding that, contrary to what one might think, censorship of cinema did not slow down linearly during Marcelismo. The research was based on the censorship files and minutes of the Censorship Commission of national and foreign films that are deposited in the National Archive of Torre do Tombo (ANTT), in Lisbon. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What I want to comprehend is how, during Portuguese Estado Novo, colonial cinema "imagined" woman. I lay out in "shot" women representations on the propaganda film Feitiço do Império (Empire's spell, 1940), directed by António Lopes Ribeiro, before I examine, in "reverse shot", the ones presented in forbidden films by the Censorship Commission: Catembe (1965) e Deixem-me ao menos subir as palmeiras... (At least let my climb the palmtrees..., 1972). Finally I will analyse the woman filmic representation when cinema became the "eye of freedom" in militant films such as Sambizanga (1972), directed by Sarah Maldoror. [ABSTRACT FROM AUTHOR]

The paper broaches the cinema censorship in Brazil along the civil-military dictatorship (1964-1965) by means of the study of an official document found in the proceedings of the film Toda nudez será castigada (Brazil, 1973), by the director Arnaldo Jabor. The Ordinance 3/3, of June 20, 1973, attributed to itself the reexamination and decision over this film and other eight ones - Sopro no coração (France, 1971), A classe operária vai ao paraíso (Italy, 1971), Mimi, o metalúrgico (Italy,1972), Sacco e Vanzetti (Italy, 1971), A aventura é uma aventura (France, 1972), Cama com música (Denmark, 1972), Queimada (England, 1969) e Os garotos virgens de Ipanema (Brazil, 1973). These proceedings are analyzed along with other ones that compound the archive of the Censorship and Public Amusement Division (DCDP), which contains over thirty thousand proceedings, besides administrative documents. The aim is to understand the reading keys used by censors and the negotiations for prohibition and liberation performed by DCDP. [ABSTRACT FROM AUTHOR]