“Imãos de armas”: o CEP no cinema de propaganda da Primeira Guerra Mundial

Maria Do Carmo Piçarra

doi:10.31447/as00032573.2018227.08

Abstract

We address the shipment of Portuguese troops, undertaking of military exercises, and the visits of Bernardino Machado to the Western Front (Verdun) and to the United Kingdom during the World War One. The cinematic portrait of the “brave Portuguese soldiers” is examined. An alternative view is that of the German amateur film, Afundamento do Augusto Castilho (The Sinking of the Augusto Castilho), which documents how the brutality of the First World War coexisted with a code of military honor and the bravery required from Portuguese fighting men to make up for their lack of modern weaponry.

Highlights

We address the shipment of Portuguese troops, undertaking of military exercises, and the visits of Bernardino Machado to the Western Front (Verdun) and to the United Kingdom during the World War One
An alternative view is that of the German amateur film, Afundamento do Augusto Castilho (The Sinking of the Augusto Castilho), which documents how the brutality of the First World War coexisted with a code of military honor and the bravery required from Portuguese fighting men to make up for their lack of modern weaponry. keywords: World War One; propaganda; Portugal; cinema
A ficção chega tarde, portanto, a um cinema que começou muito cedo, por iniciativa de fotógrafos curiosos, e elegeu como temas preferidos os da literatura de inspiração popular e melodramática (Grilo, 2006)

Summary

Introduction

A que assistem o ministro de Portugal no Reino Unido, Augusto de Vasconcellos, e o general Rosado – apontado, durante o Sidonismo, para substituir o comandante da Primeira República, general Tamagnini –, exibe-se o Jogo do Pau. Tal sucede quando as tropas portuguesas, num derradeiro esforço organizativo, e após a derrota em La Lys, querem recuperar, sob o comando de Rosado, a dignidade militar de uma força de combate.

Results

Conclusion