Documentário, modernismo e revista em Lisboa, Crónica Anedótica

This paper explores how the instability of cinematographic concepts and practices, that only later would be associated with “documentary”, in Lisboa, Crónica Anedótica (Leitão de Barros, 1930) allows for the co-existence of the generators of two cinematographic traditions as diverse, as autonomous and as different as, on the one hand, the documentary modernist (urban European “symphonies”) and, on the other hand, the film’s fictional genre (“comedies” in Portuguese).