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Entre silêncio e a manipulação: Bergman e a censura em Portugal, anos 60
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Advisor(s)
Abstract(s)
Partimos da ideia de território, conceito e temática central deste Encontro.
Desde logo, esta noção tem uma origem etimológica complexa, mas esclarecedora: a sua
raiz principal, originária do latim territorium, é formado pelos étimos: - terra -,
significando “solo”, “região”, “país”; - torium -, um sufixo que indica um lugar associado
a uma acção. Assim, territorium expressava originalmente “a extensão de terra
pertencente a uma cidade ou Estado”. É justamente neste domínio concreto - o Estado
Novo, com implicações políticas, sociais, éticas e morais - que se pretende falar de
Bergman e dos filmes exibidos entre nós. Importa então afirmar que este estudo - “ENTRE
O SILÊNCIO E A MANIPULAÇÃO: BERGMAN E A CENSURA EM PORTUGAL, ANOS 60” -,
começa por contextualizar a situação existente em Portugal, cuja menção não é de ordem
geográfica, mas de jurisdição de uma comunidade, e fá-lo balizando, nessa abordagem, a
realidade da década de 60. Destacando-se este território específico, configura-se um
contexto singular de censura e recepção cinematográfica, da responsabilidade do Estado
Novo, distinto do que ocorria noutros países europeus. Deste modo, propomo-nos trazer
ao conhecimento um conjunto exemplificativo de filmes, exibidos em circuito comercial,
sujeitos a constrangimentos ao nível da distorção ou da supressão de legendas, bem como
a cortes efectuados nos fotogramas das películas. A escolha dos filmes, dentro da obra
cinematográfica de Bergman, marcada por interrogações existenciais, procura dar relevo
a dois eixos essenciais que caracterizaram o regime: a moral tradicional e a instituição
igreja católica, sendo mostrados vários exemplos dos constrangimentos atrás enunciados,
no quadro censório do Estado Novo, que controlava a circulação de ideias e imagens
consideradas subversivas ou imorais. Com isto, há uma tese a fundamentar: reconhecer
que a maioria dos filmes de Bergman exibidos em Portugal não foi proibida, mas
apresentada mediante alterações significativas. Tornam-se, assim, as acções desse quadro
censório o principal objeto de análise, reflexão e comentário crítico deste estudo.
We started from the idea of territory, concept and central theme of this Meeting. From the outset, this notion has a complex but enlightening etymological origin: its main root, originating from the Latin territorium, is formed by the etymists: - earth -, meaning “soil”, “region”, “country”; - torium - a suffix indicating a place associated with an action. Thus, territorium originally expressed “the extension of land belonging to a city or state”. It is precisely in this specific domain - the Estado Novo, with political, social, ethical and moral implications - that we intend to talk about Bergman and the films shown among us. It is therefore important to state that this study – “BETWEEN SILENCE AND MANIPULATION: BERGMAN AND CENSORSHIP IN PORTUGAL, THE 60S” – begins by contextualizing the existing situation in Portugal, whose mention is not of a geographical order, but of the jurisdiction of a community, and does so by marking, in this approach, the reality of the 60s. Highlighting this specific territory, a singular context of censorship and cinematographic reception is configured, under the responsibility of the Estado Novo, different from what occurred in other European countries. In this way, we propose to bring to light an example set of films, exhibited in commercial circuit, subject to constraints in terms of distortion or suppression of subtitles, as well as cuts made in the frames of the films. The choice of films, within Bergman's cinematographic work, marked by existential questions, seeks to highlight two essential axes that characterized the regime: traditional morality and the institution of the Catholic Church, showing several examples of the constraints mentioned above, in the censorship framework of the Estado Novo, which controlled the circulation of ideas and images considered subversive or immoral. There is a thesis to substantiate: to recognize that most of Bergman's films shown in Portugal were not banned but presented through significant changes. Thus, the actions of this censorship framework become the main object of analysis, reflection and critical commentary of this study.
We started from the idea of territory, concept and central theme of this Meeting. From the outset, this notion has a complex but enlightening etymological origin: its main root, originating from the Latin territorium, is formed by the etymists: - earth -, meaning “soil”, “region”, “country”; - torium - a suffix indicating a place associated with an action. Thus, territorium originally expressed “the extension of land belonging to a city or state”. It is precisely in this specific domain - the Estado Novo, with political, social, ethical and moral implications - that we intend to talk about Bergman and the films shown among us. It is therefore important to state that this study – “BETWEEN SILENCE AND MANIPULATION: BERGMAN AND CENSORSHIP IN PORTUGAL, THE 60S” – begins by contextualizing the existing situation in Portugal, whose mention is not of a geographical order, but of the jurisdiction of a community, and does so by marking, in this approach, the reality of the 60s. Highlighting this specific territory, a singular context of censorship and cinematographic reception is configured, under the responsibility of the Estado Novo, different from what occurred in other European countries. In this way, we propose to bring to light an example set of films, exhibited in commercial circuit, subject to constraints in terms of distortion or suppression of subtitles, as well as cuts made in the frames of the films. The choice of films, within Bergman's cinematographic work, marked by existential questions, seeks to highlight two essential axes that characterized the regime: traditional morality and the institution of the Catholic Church, showing several examples of the constraints mentioned above, in the censorship framework of the Estado Novo, which controlled the circulation of ideas and images considered subversive or immoral. There is a thesis to substantiate: to recognize that most of Bergman's films shown in Portugal were not banned but presented through significant changes. Thus, the actions of this censorship framework become the main object of analysis, reflection and critical commentary of this study.
Description
Keywords
Estado Novo Censura Bergman Moral tradicional Religião católica Censorship Traditional morals Catholic religion . Faculdade de Artes e Humanidades
Pedagogical Context
Citation
Rebelo, A. (2025). Entre silêncio e a manipulação: Bergman e a censura em Portugal, anos 60. Cinema & Território, (10), 174-193. http://doi.org/10.34640/ct10uma2025rebelo
Publisher
Universidade da Madeira