Vol. 4 No. 2 (2024): Fiction Vivante

• Propositions for a Living Fiction

  Francisco Silva Cavalcante Júnior, Mirian Tavares, Patrícia Dourado, Susana Costa, Ana Filipa Cerol Martins

  9-15

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• The silhouette of a butterfly against the empty canvas: Traces of modernity in the experience of narrating

  Leonardo Moura Mateus

  16-26

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• The writers’ room in Brazil: A hybrid mode of audiovisual creation – the case of The King of TV

  Samir Cheida

  27-38

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• Total Cinematic Musiké: the video-poematic experience of Patrizia Vicinelli

  Marzia D'Amico

  39-52

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• Process Report of Bruno Grilo’s Work in a Collective Exhibition at Casa Museu Abel Salazar titled The Apology of Crisis (of Discomfort and Dialogue as Paradox)

  Bruno Grilo

  53-64

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• Interwoven imaginaries of Brazil and Portugal in a Visual Performance by the artist Edicleison de Freitas Cardoso: a chronicle on the Mummies

  Andre Feitosa de Sousa

  65-72

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• Nuits Blanches

  Pauline Le Pichon

  73-81

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• Regarding the lecture the other day – Notes on a cook-actor and cinema as an impressionist art

  Patrícia Dourado, Mirian Tavares

  82-86

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Varia

• Social appeals in TV commercials: the Christmas messages of Portuguese brands

  Sónia Silva, Fábio Ribeiro

  87-101

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• Advergaming in advertising communication: Case study Pepsiman and its brand awareness strategy

  Alex Mullo López, Jarelis Peñaherrera Romero, Patricia de Casas Moreno

  102-115

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• Secção de Cinema do Orfeão: the awakening of film culture in Covilhã and its links with Salamanca

  Manuel Herrería Bolado

  116-125

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• Romy Schneider in Portugal: Transnational cinema and censorship in the Marcelist period (1968-1974)

  Jorge Carrega, Ana Bela Morais

  126-137

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• Digital Image: The Role of Apparatus, Artificial Intelligence, and Machine Learning in Visual Communication in the Digital Age

  Wilson Caldeira, José Simões

  138-149

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• Les littératures de la contagion: le legs camusien

  Soumia Mejtia

  150-161

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• Contemporary Female Voices: The case study of Our Uniform, by Yegane Moghaddam

  Cátia Peres, Cynthia Levitan

  162-173

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• In front of the mirror: Barthe’s conception of “film-situation”

  Maria João Viegas

  174-179

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