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 / Theory of Filmmakers / Audiovisual Narratives / Cinema and the Other Arts / Film and Education


Visual Digital Culture
Coordinators: Tiago Baptista; 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: Paulo Cunha; 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.
  Cinemas in Portuguese
Coordinators: Jorge Cruz; Sílvia Vieira; Leandro Mendonça
  Description available soon.
  Landscape and Cinema
Coordinators: Filipa Rosário; Iván Villarmea

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.

  Theory of Filmmakers
Coordinators: Manuela Penafria; André Rui Graça; Eduardo Baggio.
  The main goal of the "Filmmakers´ theory" GT [working group] is to bring together film theory and theoretical reflections produced by filmmakers in their endeavors to address and understand both their own artwork and cinema. We intend to stimulate a film theory anchored on fundamental references such as films, as well as both oral and written expressions of filmmakers. On the one hand, we understand that the most important sources to develop and expand cinema theory are direct ones, namely films, interviews, books or texts written by filmmakers. On the other hand, "filmmaker" is used here as an umbrella concept that covers not only the director but also whoever presents valuable contributions to the cinematic art — like actors, screenwriters, editors, etc. The purpose of studying cinema from the filmmakers' angle presents itself as an alternative to a classical film theory that usually has gone to seek other disciplines such as History, Sociology, Psychoanalysis or more recently, Cognitive Theory. We intend to develop and challenge the novelty and originality of a theoretical approach working closely with filmmakers. It is also our purpose to contribute to the extension of the broader area of study that is focused on (and with) filmmakers' testimonies.
  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.

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

The Work Group “Film and Education” assumes as its fundamental goal to foment research fields and proposals that study, analyse and produce possible strategies and didactic applications of Film within the educational context. We consider that is crucial the study of Film inclusion in teaching politics, programmes, models and methodologies. Film can generate a prolific student education and development (meaning growth as knowledge), channelling the enormous pragmatic-filmic informal learning potential through formal programmes of didactic positioning and usefulness. Film presence within educational institutions may contribute, as well, to the creation of new Film audiences (not only students, but also a broad school community), able to overcome the common experience and interest for the so-called “commercial” films and able to comprehend, interpret and appraise other kinds of cinematography. Within these, we include and highlight, naturally, the presence and cherishment of Portuguese Cinema among those audiences, making the most of the school-class environment (physical and virtual) and the educational contexts as important dynamos for the propagation and knowledge on past, present and future national films. Finally, and within the described intentions and panorama, the National Film Plan (PNC) appears today as an unavoidable reference in the relations between Film and Education in Portugal, walking side-by-side with other international projects in the fulfilment of the referred purposes of including Film and Media in educational programmes. The Work Group “Film and Education” intends to become a privileged interlocutor for the various pedagogical practices that are being currently developed, and wants to stimulate debate, critical reflection and academic research within this field of studies.


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