<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0873-6561</journal-id>
<journal-title><![CDATA[Etnográfica]]></journal-title>
<abbrev-journal-title><![CDATA[Etnográfica]]></abbrev-journal-title>
<issn>0873-6561</issn>
<publisher>
<publisher-name><![CDATA[Centro em Rede de Investigação em Antropologia - CRIA]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0873-65612021000100193</article-id>
<article-id pub-id-type="doi">10.4000/etnografica.9976</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Entre as práticas cinematográficas e as práticas turísticas: um olhar etnográfico sobre a produção de filmes turísticos portugueses na década de 1960]]></article-title>
<article-title xml:lang="en"><![CDATA[Between filmmaking practices and tourist practices: an ethnographic look on the production of Portuguese tourism films in the 1960s]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Sampaio]]></surname>
<given-names><![CDATA[Sofia]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade de Lisboa Instituto de Ciências Sociais ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>04</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>04</month>
<year>2021</year>
</pub-date>
<volume>25</volume>
<numero>1</numero>
<fpage>193</fpage>
<lpage>210</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0873-65612021000100193&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0873-65612021000100193&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0873-65612021000100193&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O artigo explora a relação entre práticas cinematográficas e práticas turísticas na produção de filmes turísticos portugueses da década de 1960. Para além da análise de imagens depositadas no Arquivo Nacional das Imagens em Movimento (ANIM) da Cinemateca Portuguesa-Museu do Cinema, recorro ao testemunho de profissionais do cinema e seus familiares para tentar recuperar os contextos e as práticas de produção destes filmes, numa espécie de etnografia retrospectiva do campo de produção cinematográfica desse tempo. Ainda que frequentemente relegados (pelos próprios realizadores) para uma posição secundária ou marginal, estes e outros filmes de utilidade desempenharam um papel importante na carreira destes profissionais, permitindo-lhes desenvolver uma práxis profissional reconhecida dentro e fora do meio cinematográfico e, em geral, permanecer dentro de uma profissão marcada por uma elevada precariedade laboral. Na linha de teorias &#8220;não-representacionais&#8221; ou &#8220;mais-do-que-representacionais&#8221;, analiso a produção de imagens em movimento turísticas à luz da sobreposição de experiências cinematográficas e turísticas incarnadas e situadas, e não tanto da imposição directa de um &#8220;olhar turístico&#8221; por parte quer da indústria quer do Estado.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article explores the relationship between filmmaking practices and tourist practices in the production of Portuguese tourism films in the 1960s. Besides analysing the images deposited in the National Archive of the Moving Images (ANIM) of the Portuguese Film Museum (Cinemateca Portuguesa-Museu do Cinema), I draw on interviews with filmmakers and their relatives to retrieve the production contexts and practices of the films, in a kind of retrospective ethnography of the film production field of those times. Frequently relegated (by the filmmakers themselves) to a secondary or marginal position, these and other utility films played an important part in the careers of these professionals, allowing them to develop a professional praxis recognised inside and outside the field and, in general, remain in a profession shaped by great instability. In line with &#8220;non-representational&#8221; or &#8220;more-than-representational&#8221; theories, I analyse the production of tourism moving images in the light of embodied and situated filmmaking and tourist experiences that overlap and not so much of the direct imposition of a &#8220;tourist gaze&#8221; by the industry or the State.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[filmes turísticos]]></kwd>
<kwd lng="pt"><![CDATA[práticas]]></kwd>
<kwd lng="pt"><![CDATA[Portugal (anos 60)]]></kwd>
<kwd lng="pt"><![CDATA[arquivo de imagens em movimento]]></kwd>
<kwd lng="pt"><![CDATA[etnografia retrospectiva]]></kwd>
<kwd lng="en"><![CDATA[tourism films]]></kwd>
<kwd lng="en"><![CDATA[practices]]></kwd>
<kwd lng="en"><![CDATA[Portugal (1960s)]]></kwd>
<kwd lng="en"><![CDATA[moving image archives]]></kwd>
<kwd lng="en"><![CDATA[retrospective ethnography]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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