The novelties in the representation of strongholds in Alentejo-southem Portugal, frontier with Spain, considered as a ＂theater of war＂ during the 17th and 18th centuries-followed European influences, which the theor...The novelties in the representation of strongholds in Alentejo-southem Portugal, frontier with Spain, considered as a ＂theater of war＂ during the 17th and 18th centuries-followed European influences, which the theorists responsible for training the engineers in active in the country at this time, Luis Serrao Pimentel and Manuel de Azevedo Fortes, intend to apply. Several drawings bring testimony to this, by showing different ways of representing natural or built elements, allowing for comparisons with other regions of the country or even Europe. The comparison with earlier projects, and given the information contained mainly in the works of Luis Serr^o Pimentel and Manuel de Azevedo Fortes, lead us not only to the conclusion of the acceptance of the proposed rules, in order to enrich the profile of military engineers in Portugal, but also to notice the changes that this acceptance signified, emphasizing especially the technical and artistic sensibility of the authors of these projects of military architecture.展开更多
From the early days of the moving image and its recordings of facts and events considered to be historical, followed by the consolidation of the classic narrative cinema grammar in the 1910s reaffirmed until today by ...From the early days of the moving image and its recordings of facts and events considered to be historical, followed by the consolidation of the classic narrative cinema grammar in the 1910s reaffirmed until today by a large part of the television production that turns to the past, without disregarding authorial aesthetic experiences produced especially since the 1920s, history has been present for over more than a century in several types of media. Movie theaters, people＇s homes and, nowadays, thanks to new media technology, any and every place are spaces for projecting historical narratives. They are both entertainment--by deploying strategies for constructing a ＂truth＂ about the past--and critical reflection, going against a belief in that possibility, in rendering explicit their nature as a language. Since all of these narratives presuppose an audience, a public, within different genres, styles and formats, with more realist overtones, more to the general public＇s taste, or anti-naturalist, in experiences for smaller audiences, it seems pertinent to discuss these issues considering that audiovisual narratives are powerful agents in constructing a memory of the past. Particularly in this text, we will examine how the most powerful communication enterprise in Brazil - Global Group - had construct a memory of the Brazilian military dictatorship （1964-1985） until 2016.展开更多
文摘The novelties in the representation of strongholds in Alentejo-southem Portugal, frontier with Spain, considered as a ＂theater of war＂ during the 17th and 18th centuries-followed European influences, which the theorists responsible for training the engineers in active in the country at this time, Luis Serrao Pimentel and Manuel de Azevedo Fortes, intend to apply. Several drawings bring testimony to this, by showing different ways of representing natural or built elements, allowing for comparisons with other regions of the country or even Europe. The comparison with earlier projects, and given the information contained mainly in the works of Luis Serr^o Pimentel and Manuel de Azevedo Fortes, lead us not only to the conclusion of the acceptance of the proposed rules, in order to enrich the profile of military engineers in Portugal, but also to notice the changes that this acceptance signified, emphasizing especially the technical and artistic sensibility of the authors of these projects of military architecture.
文摘From the early days of the moving image and its recordings of facts and events considered to be historical, followed by the consolidation of the classic narrative cinema grammar in the 1910s reaffirmed until today by a large part of the television production that turns to the past, without disregarding authorial aesthetic experiences produced especially since the 1920s, history has been present for over more than a century in several types of media. Movie theaters, people＇s homes and, nowadays, thanks to new media technology, any and every place are spaces for projecting historical narratives. They are both entertainment--by deploying strategies for constructing a ＂truth＂ about the past--and critical reflection, going against a belief in that possibility, in rendering explicit their nature as a language. Since all of these narratives presuppose an audience, a public, within different genres, styles and formats, with more realist overtones, more to the general public＇s taste, or anti-naturalist, in experiences for smaller audiences, it seems pertinent to discuss these issues considering that audiovisual narratives are powerful agents in constructing a memory of the past. Particularly in this text, we will examine how the most powerful communication enterprise in Brazil - Global Group - had construct a memory of the Brazilian military dictatorship （1964-1985） until 2016.
