To improve the relationship between members and to stimulate scientific partnerships, AIM decided to urge our members into creating specific Working Groups (WG). We hope those organised groups can serve to gather researchers according to their scientific interests and that this may result in new scientific proposals. We also encourage WG to act as starting point for the submission of proposals for pre-constituted panels at AIM Annual Meetings. To join a WG, please go to the member's area. See also our FAQ.

Current WG: Visual Digital Culture / History of Portuguese Cinema / Cinemas in Portuguese / Landscape and Cinema / Other Films / Filmmaker’s Theory / Audiovisual Narratives / Cinema and the Other Arts / Cinema and Education / Cinema and Materiality / Post colonial and outer cinemas


Visual Digital Culture
Coordinators: Marta Pinho Alves; Luís Nogueira

  This workgroup will address the different iterations of visual culture in digital contexts and the miscegenation of different visual regimes and practices of the gaze. We are interested as much in the ruptures as we are in the continuities brought upon by the transformations in the production, circulation, and appropriation of visual culture, such as those introduced by the Web 2.0, digital cinema, and the small screen media that connect the private and public spheres on a daily basis. We privilege historiographical, cultural, and aesthetic researches of the relations between the different visual regimes such as the cinematic, the televisual, or the artistic. We pay special attention to the theories of intermediality as a way to cross fertilize knowledge about "new" and "old" media and we summon the contributions of film studies, media theory, art history and art theory, to research digital visual culture.
  History of Portuguese Cinema
Coordinators: Daniel Ribas; Rita Benis

The main challenge of the current research on Portuguese cinema is stressed by discussing some of the dogmas and History of Portuguese cinema of the past fifty years. Applying the principles of elementary practices of scientific research, the Workgroup intends to add several investigations in various scientific fields, seeking to build a historical corpus which takes into account all dimensions - political, economic, social, technical, productive and cultural - of Portuguese cinema. This process also requires, as one of the scientific priorities, comparative analysis of the history of Portuguese cinema with particular histories of other cinematographies, trying to identify similar problems and avoiding questions arising from the essentialism of the national issue. It is considered a priority (but not exclusive) the study of the History from the new Portuguese cinema in the 60s to the 90s. It is therefore objective of this group to support and to encourage seminars and meetings that can discuss and work for a new history of Portuguese cinema, trying to analyze and detail aspects lesser-known or ignored in Portuguese cinema and looking for new scientific approaches.

Description available soon.

  Cinemas in Portuguese
Coordinators: Jorge Cruz; Sílvia Vieira; Leandro Mendonça

Description available soon.

  Landscape and Cinema
Coordinators: Filipa Rosário; Iván Villarmea; Ana Costa Ribeiro

The aim of this workgroup is to develop research lines addressing the dialogical study of landscape in fiction and documentary film. Landscape is the outcome of human interpretation, because, despite being built in space (condition), it is always an image of a particular time (theme). Cinema records its appearance over time, thereby offering environmental images that can be interpreted as testimonies of the historical perception of places. Accordingly, this workgroup is interested in all those formal and mise-en-scène strategies used in the construction of filmic space, paying particular attention to the objective and subjective temporalities recalled by these strategies. We will adopt an architectural and geographical approach to discuss the representation of urban, rural and middle landscapes, as well as the socio-historical transformations of these spaces. Furthermore, our research interests also include the cinematic aestheticization of landscape and its symbolic place in national cinemas, auteur theory and film genres.


Other Films
Coordinators: Sofia Sampaio; Raquel Schefer; Thais Blank.



The workgroup 'other films' is interested in the 'other films' – i.e. the films that have been systematically left out of canonical film histories and historiographies, with a well-known bias for fiction, auteurs and feature-length formats. Among these films, which make up the largest slice of world film production, we find the 'utility film' (industrial, touristic, educational, advertising), the amateur or domestic film, several short and medium-length films of difficult classification, and so-called 'ephemeral' and 'orphan' films. Instead of the canon, the focus of this workgroup falls on the archive, thus convoking a wealth of distinct questions. How is a moving image archive built? What theoretical problems and research questions does it raise, and how can such problems and questions be tackled and investigated? What is the relationship between the archive and the creation of new films? How are 'old' images incorporated in 'new' films and for what purposes? What are the selection and editing criteria, and what effects (intentional and unintentional) do these image and sound 'migrations', 'disarticulations' and 'rearticulations' produce? Finally, how can we develop and apply theories and methodologies that will assist us in researching this panoply of problems? We welcome contributions from such areas as film studies, art studies, cultural studies, history, memory studies, and visual anthropology.

  Filmmaker’s Theory
Coordinators: Manuela Penafria; André Rui Graça; Maria do Rosário Lupi Bello.
  The main goal of the GT "Filmmaker's theory" is to bring together cinema theory and the theoretical reflection coming from the filmmakers in their endeavor to understand either their own artwork or cinema itself. We intend to stimulate a cinema theory whose fundamental reference and main sources are the films and both oral and written manifestations of the filmmakers. On the one hand, we understand that the most important sources to develop and expand cinema theory are the direct ones, namely the films, interviews, books or texts written by the filmmakers. On the other hand, filmmaker is a concept that covers not only the director but also whoever presents a valuable contribution to the cinematographic art like actors, screenwriters, cinematographers, etc. The purpose of studying cinema searching for filmmakers support is in itself an alternative to classical and recent cinema theory that usually has gone to seek other disciplines as support. We intend to rise up and test the novelty and originality of a theoretical study that works closely with the filmmaker's reflection.
  Audiovisual Narratives
Coordinators: Fátima Chinita; Maria Guilhermina Castro; Jorge Palinhos.

Narrative always had, since the beginning of time, great importance for the existence of human beings and the life of societies. In its most basic meaning, narrative presupposes the evolution from one state (a beginning) to another (an end), a transition which occurs in time and is acted by someone (author, narrator, character) or something (camera, the film itself) (Jost and Gaudreault, 1990). This does not necessarily imply any measure of “truthfulness”. In the field of narratology (e.g. Gérard Genette), the act of narrating / enunciating is known as “storytelling”, and the content of the narrative / enunciation is the “story” [told].

AIM’s work group Audiovisual Narratives takes up the study of narrative content and form in all kinds of products and by all audio-visual processes, composed of images as well as sounds (together or separately), disseminated throughout all means, and for all types of audience. The sub-fields of literature, publicity, psychology, journalistic media, and the relationship with other art forms are considered relevant for this purpose, as long as presentations stick to narratologically-based form and content, as well as the narrative process and its outcome. We are looking for innovative proposals, original theories, creative film analysis and, of course, subject matter for long-lasting quality reflexion.

  Cinema and the Other Arts
Coordinators: Antonio Fatorelli, Nelson Araújo, Anabela Branco de Oliveira.

This work group seeks to gather research on artistic manifestations which deal with the relationship between cinema and other arts. There is a bidirectional dynamics in the object that is being studied insofar as, in this area, aesthetic processes occur in transmutation, in the cinematic discourse of the various arts and, in the opposite direction, in the presence of cinema in other arts. By identifying other artistic manifestations in the work of movie authors and by looking into the inevitability of cinema in the artist’s aesthetic memory, this research path wishes to define creative act as film reflection material, signal interpretation possibilities that are part of the dialogic confrontation, theorise about creative attitudes and systematise discourse transformations.

Want also to reflect on the boundaries between genres and on the inter-institutional exchange of art production today, especially that involving the visual arts, still images and moving pictures. Through theoretical constructs and analysis of multiple artistic manifestations, it is expected that the identity paths of each art will be identified in the course of their dialogic process with cinema. This research field, which is particularly useful for film studies, finds methodological processes capable of structuring the scientific discourse in the operational possibilities of intertextuality and in the dialogic quality of artistic creation.

Research legitimacy of such subjects as art theory and criticism, art history and art sociology, as well as studies in other artistic fields like architecture, theater, photography, plastic arts and, of course, cinema is acknowledged. Covers various questions about the relationship between art and cinema, including especially the avant-garde cinema, engaged or experimental, video art, expanded cinema, activism, the cinema of artist and installation. Production of knowledge in the artistic extraction in and of film within artistic manifestations is possible at any given moment of the history of cinema, which maximises our time span.

  Cinema and Education
Responsáveis: Pedro Alves; José António Moreira; Elsa Mendes

The main purpose of the Working Group “Cinema and Education” is to promote ideas and research proposals that study, analyse and produce resources and pedagogical applications of Cinema in an educational context. It is considered essential to study the inclusion of Cinema in policies, programs, models and teaching methodologies. Cinema can become a fruitful mechanism for the training and development of students, channelling the huge pragmatic-filmic potential of informal learning through formal programs, which have both pedagogical use and positioning. The presence of Cinema in educational institutions can also contribute to the creation of new Cinema audiences (not only of students, but also of an extended school community), capable of going beyond consumption and an interest in the so-called "commercial" films and also understand, interpret and appreciate other types of cinematography. Among these are, of course, the presence and appreciation of Portuguese Cinema amid these audiences, which will enhance the classroom space (both real and virtual) and its educational contexts and become important dynamos for the dissemination and knowledge of both past, present and future national Cinema.

  Cinema and Materiality
Responsáveis: CUCINOTTA, Caterina; MORAIS, Ana Bela; SOUZA, Nívea Faria

Starting from a literary studies approach explicitly focused on the domains of materialities and communication, and media studies, the term Materialities, when applied to cinema, convokes the different elements (or areas) which interact in the materialisation of a film project: choice of recording support, art direction, costumes, sound and light. Consequently, it considers the different professionals across these areas who, giving preference to certain options to the detriment of others and employing their specific practices, interfere directly with the film’s conception, transforming and helping materialise fisically the initial concept into the final work, and favouring a certain aesthetic intellection of it. The aim of this Work Group is to complement existing theoretical investigation on cinema with the researching of the material, physical and industrial dimensions at the heart of every film project; promoting debate about the communicative and expressive power inscribed in the many elements that comprise and harmonise an oeuvre; apprehending filmmaking as a complex process partitioned between specific teams, which contributes towards a final work that is inevitably “inter-artistic”, since a wide range of arts and crafts collaborates in the construction of the cinematic object. Rather than focusing on the analysis of the numerous cinematographic codes, on what they enclose and signify, a materialities methodology seeks to isolate each material dimension in its specificity, with a view to examining its function in the construction of the object “film”. The celluloid’s physical qualities, the forms. Textures and lines of costumes and the scenography, the composing in interior and exterior settings, the work on sound and the acoustics: the entire final abstraction we call a Film is based upon a set of concrete and material realities, transforming itself in the study object. Accordingly, this presupposes the “disassembling” of every component at the heart of all “practical” structuring of the film to treat individual piece as an object worthy of analysis and study. When António Reis referred to “the Aesthetics of materials” (1997) he meant the rigor in choosing the physical elements that compose the cinematographic frame and all the consequences that these options produce. Thus, words like “crafts”, “composition”, “materialisation”, “artefact” become decisive when trying to define this research object which fails to entirely coincide with both narrative and visual matter, and instead concurs with forms, cuts, materials, and the styles proposed by the several professional teams involved in the creative materialities process. The definition of filmmaking as “a tailor’s work in progress” propounds the idea of craft-in-itself, as if the film could be conceived as a mass which is mouldable into sculpture; made out of shapeless cloths that can be shaped into garments; of sounds’ block that can be organised into music, voices and silences; of lights captured by the tape that can lighten and darken.

  Post colonial and outer cinemas
Responsáveis: CUNHA, Paulo; SALES, Michelle; LEROUX, Liliane

The GT presented here is interested in the discussion of emerging cinemas in postcolonial contexts, many of which are the margins of national cinematography, usually in urban peripheries. By deepening the debate about the presence of "peripheries and margins" in postcolonial and outer cinemas around the world, in addition to conceptually organizing and systematizing a postcolonial cinema, we want to move in the direction that has presented itself as the most fundamental for these cinematographies: the image as representation and (more recently) as self-presentation in the cinema realized in the margins and peripheries of the world. We are interested in the critical revision of hegemonic and eurocentric forms and representations, as well as the social, cultural and artistic movements that have promoted the emergence of marginal artists in the film and art market, imposing images and other representations, as well as the production of artists from the diaspora , and the collective production of minority political groups. In Europe and the United States, this movement is accompanied by the emergence of voices, usually immigrants from ex-colonies as well as from social movements whose artistic power has been able to assert sensitivities in a growing wave of questioning of imperial molds and global aspects of contemporary life. In African countries, where the image was used as an instrument of colonial domination, an anti-colonial and denouncing cinema emerges, which continues to expand in terms of genres and themes. In Latin America, especially in Brazil, the representation of places and cultures is assumed by the groups themselves. Indigenous filmmakers are emerging and film collectives emerge in favelas and peripheries. Within this panorama, we want to discuss who are the artists and peripheral groups that are emerging in contemporary cinema and the visual arts, imposing a new agenda for the production of images in general, able to discuss the forms of invisibility and forgetfulness with respect to the ancient and recent modes of exclusion and re- colonisation.


FAQ Workgroups

How do I create a workgroup?
Any member should access his Member's Area and on the form proposed himself as coordinator of a workgroup and present a brief description, but objective, in Portuguese and English. Each workgroup should be proposed by three coordinators. The proposal will be sent to two or three members of the Advisory Board to issue an opinion from which the AIM's Board decide whether to endorse. Once approved the workgroup, this will be listed in the open area of ​​the site and any member may join the group. It is for the coordinators to manage communication with the other members of the workgroup. The coordinators will submit activity reports and activity plans at the General Assembly of AIM.

How to be added to the workgroups?
Any active member may join any existing workgroup on AIM. This requires access to the member's area, look for the workgroup and add up. The operation of each group is of the coordinators responsability.

Any questions or suggestions write to