{"id":{"repo_id":"kings","oai_identifier":"oai:kclpure.kcl.ac.uk:studenttheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec"},"canonical_url":"https://search.dev.ndltd.org/etd/kings/oai:kclpure.kcl.ac.uk:studenttheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec","repository":{"repo_id":"kings","name":"King's College London","base_url":"https://kclpure.kcl.ac.uk/ws/oai"},"display":{"title":"Film and Fado in Portugal from the 1930s to the 1950s","abstract":"A popular urban song, fado has been the subject of highly contested debates in Portuguese politics and culture. This dissertation examines the representation of fado in the Portuguese cinema of the 1930s and 1940s, concentrating primarily on the popular comedies, dramas and rural-folkloric films. These decades witnessed the establishment of the Estado Novo (New State) (1932-1974) government of António Salazar, the promotion of fado as the national song, and the song’s prominence in the theatre, radio, and in film. It is generally accepted that this period in Portuguese cinema was complicit with the ideological values of the dictatorship. Critics of Portuguese cinema have identified fado as a prominent feature in the films, noting that the song’s position as the national song is reason enough for its presence, yet there has been no critical discussion examining fado's representation in these films. In this dissertation, I concentrate on Portuguese cinema’s negotiation with fado’s history and traditions, and the mise-en- scène of performance, place, and iconography. As this dissertation will show, in the 1930s and 1940s, fado and film were negotiating a position between the popular and the political, and that while the films have conservative elements, they nonetheless offer up contradictory representations that do not warrant <br/>the generally unfavourable critical view of a cinema in step with a dictatorship. This is due largely to the enduring legacy of fado’s transgressive history leading up to 1930.","abstract_html":"A popular urban song, fado has been the subject of highly contested debates in Portuguese politics and culture. This dissertation examines the representation of fado in the Portuguese cinema of the 1930s and 1940s, concentrating primarily on the popular comedies, dramas and rural-folkloric films. These decades witnessed the establishment of the Estado Novo (New State) (1932-1974) government of António Salazar, the promotion of fado as the national song, and the song’s prominence in the theatre, radio, and in film. It is generally accepted that this period in Portuguese cinema was complicit with the ideological values of the dictatorship. Critics of Portuguese cinema have identified fado as a prominent feature in the films, noting that the song’s position as the national song is reason enough for its presence, yet there has been no critical discussion examining fado&#x27;s representation in these films. In this dissertation, I concentrate on Portuguese cinema’s negotiation with fado’s history and traditions, and the mise-en- scène of performance, place, and iconography. As this dissertation will show, in the 1930s and 1940s, fado and film were negotiating a position between the popular and the political, and that while the films have conservative elements, they nonetheless offer up contradictory representations that do not warrant &lt;br/&gt;the generally unfavourable critical view of a cinema in step with a dictatorship. This is due largely to the enduring legacy of fado’s transgressive history leading up to 1930.","abstract_has_math":false,"creators":["De Melo, Anthony"],"institution":"King's College London","degree_name":"Doctor of Philosophy","degree_level":"Doctoral Thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Dyer, Richard William","Vincendeau, Ginette"],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013-7-1","date_published":"2013-7-1","updated_at":"2026-07-24T02:44:34Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:kclpure.kcl.ac.uk:studenttheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec"],"render_values":[{"text":"oai:kclpure.kcl.ac.uk:studenttheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec","href":null,"code":true}]}]},"links":{"outbound_url":"https://kclpure.kcl.ac.uk/portal/en/studentTheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Dyer, Richard William","Vincendeau, Ginette"]},{"key":"dc:creator","label":"Author","values":["De Melo, Anthony"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2013-7-1"]},{"key":"dc:date.issued","label":"Date","values":["2013-7-1"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Film Studies"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["King's College London"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://kclpure.kcl.ac.uk/portal/en/studentTheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Doctoral Thesis"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["Doctor of Philosophy"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["oai:kclpure.kcl.ac.uk:studenttheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec","https://kclpure.kcl.ac.uk/portal/en/studentTheses/5df73290-d5dc-4cf8-bd6d-1cede69cdbec"]},{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://kclpure.kcl.ac.uk/portal/files/12528441/Studentthesis-Anthony_De%20Melo_2013.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["A popular urban song, fado has been the subject of highly contested debates in Portuguese politics and culture. This dissertation examines the representation of fado in the Portuguese cinema of the 1930s and 1940s, concentrating primarily on the popular comedies, dramas and rural-folkloric films. These decades witnessed the establishment of the Estado Novo (New State) (1932-1974) government of António Salazar, the promotion of fado as the national song, and the song’s prominence in the theatre, radio, and in film. It is generally accepted that this period in Portuguese cinema was complicit with the ideological values of the dictatorship. Critics of Portuguese cinema have identified fado as a prominent feature in the films, noting that the song’s position as the national song is reason enough for its presence, yet there has been no critical discussion examining fado's representation in these films. In this dissertation, I concentrate on Portuguese cinema’s negotiation with fado’s history and traditions, and the mise-en- scène of performance, place, and iconography. As this dissertation will show, in the 1930s and 1940s, fado and film were negotiating a position between the popular and the political, and that while the films have conservative elements, they nonetheless offer up contradictory representations that do not warrant <br/>the generally unfavourable critical view of a cinema in step with a dictatorship. This is due largely to the enduring legacy of fado’s transgressive history leading up to 1930."]},{"key":"dc:title","label":"Title","values":["Film and Fado in Portugal from the 1930s to the 1950s"]}]}],"canonical_facts":{"dc:contributor.advisor":["Dyer, Richard William","Vincendeau, Ginette"],"dc:creator":["De Melo, Anthony"],"dc:date":["2013-7-1"],"dc:date.issued":["2013-7-1"],"dc:description.abstract":["A popular urban song, fado has been the subject of highly contested debates in Portuguese politics and culture. This dissertation examines the representation of fado in the Portuguese cinema of the 1930s and 1940s, concentrating primarily on the popular comedies, dramas and rural-folkloric films. These decades witnessed the establishment of the Estado Novo (New State) (1932-1974) government of António Salazar, the promotion of fado as the national song, and the song’s prominence in the theatre, radio, and in film. It is generally accepted that this period in Portuguese cinema was complicit with the ideological values of the dictatorship. Critics of Portuguese cinema have identified fado as a prominent feature in the films, noting that the song’s position as the national song is reason enough for its presence, yet there has been no critical discussion examining fado's representation in these films. In this dissertation, I concentrate on Portuguese cinema’s negotiation with fado’s history and traditions, and the mise-en- scène of performance, place, and iconography. As this dissertation will show, in the 1930s and 1940s, fado and film were negotiating a position between the popular and the political, and that while the films have conservative elements, they nonetheless offer up contradictory representations that do not warrant <br/>the generally unfavourable critical view of a cinema in step with a dictatorship. 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