{"id":14140,"date":"2026-03-10T21:28:45","date_gmt":"2026-03-10T21:28:45","guid":{"rendered":"https:\/\/ciac.pt\/?p=14140"},"modified":"2026-03-25T07:11:50","modified_gmt":"2026-03-25T07:11:50","slug":"4th-international-conference-on-mediterranean-cinema-the-cinema-of-mediterranean-europe-new-perspectives-for-the-21st-century","status":"publish","type":"post","link":"https:\/\/ciac.pt\/en\/event\/4th-international-conference-on-mediterranean-cinema-the-cinema-of-mediterranean-europe-new-perspectives-for-the-21st-century\/","title":{"rendered":"4th International Conference on Mediterranean Cinema \u2013 The Cinema of Mediterranean Europe: New Perspectives for the 21st Century"},"content":{"rendered":"\n
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Organised by CIAC’s Film Studies Working (Research) Group, the 4th International Conference on Mediterranean Cinema brings together contributions that highlight the renewal of studies on Mediterranean European cinemas, linking different historical, methodological, and interdisciplinary approaches. The themes presented cover film exhibition and reception, censorship, audiovisual heritage, and intermedial practices, reflecting the conceptual diversity of the field. Converging on the analysis of materialities, socio-cultural contexts, and aesthetic and technological transformations, this body of research reaffirms the centrality of cinema as a privileged object for understanding cultural processes in constant flux and highlights the importance of innovative methodologies in the analysis of moving images.<\/p>\n\n\n\n

Program<\/a><\/p>\n\n\n\n

Abstract Book<\/a><\/p>\n<\/div>\n\n\n\n

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Keynotes<\/h3>\n\n\n\n
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Daniel Biltereyst (CIMS\/Centre for Cinema and Media Studies, Ghent University)<\/strong>
Towards a Multiscalar and Polycentric Gaze on Cinema History: Reflections on New Directions in New Cinema History, Spatialities and Methodologies<\/em><\/strong><\/em><\/strong><\/p>\n\n\n\n

Rather than understanding New Cinema History (NCH) merely as a revisionist perspective that provocatively reconfigures film studies by decentralizing the films themselves, this paper argues that NCH\u2019s major innovations lie not only in its emphasis on the social embeddedness of cinema or its focus on exhibition, distribution, and audience reception. Drawing on examples from a wide range of NCH\u2011inspired research, this paper examines the breadth of innovation within the field\u2014showing how NCH has introduced new research questions, expanded the types of data and sources mobilized, brought rarely used methods and methodologies into the discipline, and reshaped both the research ethos and the epistemological foundations of film studies. The talk, which advocates for a further intensification of multiscalar and multimethodological approaches, will also explore how NCH has reconfigured and examined various dimensions of spatiality in relation to film and cinema\u2014thereby promoting a more polycentric gaze on cinema\u2019s past.<\/p>\n\n\n\n

Daniel Biltereyst is Full Professor of Film and Media Studies and Director of the Centre for Cinema and Media Studies (CIMS) at Ghent University. A specialist in film and media history, historical audiences, censorship, and media controversies, he is a central figure in the development of New Cinema History<\/em>. He is an elected member of the Academia Europaea and co\u2011founder of the international HoMER network, dedicated to research on film exhibition, distribution, and reception. He also serves as a programmer for Film\u2011Plateau, the university film club he helped establish. Biltereyst has extensive experience on scientific and pedagogical evaluation committees across several countries and has secured both national and international research funding. He has supervised more than 25 doctoral projects and has published widely in leading academic journals, as well as co\u2011editing key volumes such as The Routledge Companion to New Cinema History<\/em>, Mapping Movie Magazines<\/em>, New Perspectives on Early Cinema History<\/em>, Cinema in the Arab World<\/em>, and The Screening Censorship Companion<\/em>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Agatha Bulha \u2013 \u00a0Lawyer specializing in copyright<\/strong><\/strong>
AI, Creativity, and Copyright \u2013 Challenges for Cinema<\/em><\/strong><\/p>\n\n\n\n

This paper analyzes the impact of Artificial Intelligence on cinema, highlighting the transformations it introduces in creative processes, authorship, and the legal protection of works. The main applications of generative AI will be discussed \u2014 from concept art to visual effects and synthetic voice or image \u2014 as well as the benefits and risks they pose for industry professionals. We also address the essential principles of copyright law, emphasizing the centrality of human involvement and the current limitations in protecting fully automated content. The paper also reflects on the need to preserve the human dimension of the arts and on the role of the State, civil society, and professional organizations in defending creators in a rapidly evolving technological context.<\/p>\n\n\n\n

Agatha Bulha is a lawyer, graduated from the Faculty of Law of the University of Lisbon, with a postgraduate degree in Intellectual Property Law from the same faculty. She is managing partner of her family’s law firm and has collaborated with various associations in defending the rights and interests of artists. She is a member of the General Council of the Bar Association and the General Council of the University of Algarve.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Guest Speakers<\/h4>\n\n\n\n
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Uniqueness of early 20th-century film posters<\/em><\/strong>
Eduardo Cintra Torres \u2013 Universidade Cat\u00f3lica Portuguesa<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Alain Delon in Portugal. Cinema and Censorship (1968-1974)<\/em><\/strong>
Ana Bela Morais \u2013 Centro de Estudos Comparatistas da Faculdade de Letras da Universidade de Lisboa<\/p>\n<\/div>\n<\/div>\n\n\n\n

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The film genre as a means of representing identity in Mediterranean cinema: who am I?<\/em><\/strong><\/em><\/strong>
Hugo Martins \u2013 CIAC \u2013 Centro de Investiga\u00e7\u00e3o em Artes e Comunica\u00e7\u00e3o<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Ornamental spatiality as a device of unease: The cinema of Dario Argento and Art Nouveau<\/em><\/strong><\/em><\/strong>
Mariana Schwartz \u2013 Escola Superior Art\u00edstica do Porto<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Pablo G. del Amo between two dictatorships: transnational staging (Spain and Portugal, 1959\u20131962)<\/em><\/strong><\/em><\/strong>
Jes\u00fas Ram\u00e9 Lopez \u2013 Universidade Rey Juan Carlos<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\u201cA Portuguese House\u201d in Paris: the music that reveals the cultural conflict in the comedies <\/em>Les femmes du 6e \u00e9tage and <\/em>La cage dor\u00e9e<\/strong><\/strong>
Diana D\u00edaz Gonz\u00e1lez \u2013 Universidade de Oviedo<\/p>\n<\/div>\n<\/div>\n\n\n\n

Panel: History of Cinema: images, materialities and heritage<\/h4>\n\n\n\n
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What\u2019s On at Batalha: modern movie theatres in Porto between survival and rehabilitation<\/em><\/strong><\/p>\n\n\n\n

Hugo Barreira \u2013 CITCEM\/FLUP<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Digital Cinematheque: audiovisual digital objects as sources for the study of cinematographic heritage<\/em><\/strong><\/p>\n\n\n\n

Mauro Santos Gon\u00e7alves \u2013 CITCEM\/FLUP<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Absent Materialities: film production, missing memorabilia, and preservation policies in Iberian silent cinema<\/em><\/strong><\/p>\n\n\n\n

Patr\u00edcia Gon\u00e7alves \u2013 CITCEM\/FLUP<\/p>\n<\/div>\n<\/div>\n\n\n\n

Film Screening: Mediterraneo (Winner of the Academy Award for Best Foreign Language Film in 1992) directed by Gabriele Salvatores<\/strong><\/h4>\n\n\n\n

Organization<\/h4>\n\n\n\n
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CIAC Coordination<\/strong><\/p>\n\n\n\n

Bruno Mendes da Silva<\/p>\n\n\n\n

Mirian Tavares<\/p>\n\n\n\n

Scientific Committee<\/strong><\/p>\n\n\n\n

Ana Isabel Soares<\/p>\n\n\n\n

Ant\u00f3nio Costa Valente<\/p>\n\n\n\n

Bruno Mendes da Silva<\/p>\n\n\n\n

Hugo Barreira<\/p>\n\n\n\n

Jorge Carrega<\/p>\n\n\n\n

Mar\u00eda Jes\u00fas Botana Vilar<\/p>\n\n\n\n

Mirian Tavares<\/p>\n\n\n\n

Silvia Quinteiro<\/p>\n<\/div>\n\n\n\n

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Organizing Committee<\/strong><\/p>\n\n\n\n

Jorge Carrega (Coordenation)<\/p>\n\n\n\n

Alexandre Martins<\/p>\n\n\n\n

Ana Gavina<\/p>\n\n\n\n

Hugo Barreira<\/p>\n\n\n\n

Stefano Scaramuzzino<\/p>\n\n\n\n

Stefano Savio<\/p>\n\n\n\n

Communication and Logistics Committee<\/strong><\/p>\n\n\n\n

Jo\u00e3o Paulo Cunha<\/p>\n\n\n\n

Juan Manuel Escribano Loza<\/p>\n<\/div>\n<\/div>\n\n\n\n

Organization<\/h4>\n\n\n\n
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Support<\/h4>\n\n\n\n
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This conference is financed by national funds through FCT \u2013 Funda\u00e7\u00e3o para a Ci\u00eancia e a Tecnologia, I.P., in the framework of projects \u00abUID\/04019\/2025 \u2013 CIAC\u00bb DOI: 10.54499\/UID\/04019\/2025<\/a> and \u00abUID\/PRR\/04019\/2025\u00bb DOI: 10.54499\/UID\/PRR\/04019\/2025<\/a><\/small><\/p>\n","protected":false},"excerpt":{"rendered":"

April 17th, 2026<\/p>\n","protected":false},"author":1,"featured_media":13902,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","inline_featured_image":false,"advgb_blocks_editor_width":"","advgb_blocks_columns_visual_guide":"","footnotes":"","_links_to":"","_links_to_target":""},"categories":[141],"tags":[],"class_list":["post-14140","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-event"],"yoast_head":"\n4th International Conference on Mediterranean Cinema \u2013 The Cinema of Mediterranean Europe: New Perspectives for the 21st Century - CIAC<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ciac.pt\/en\/event\/4th-international-conference-on-mediterranean-cinema-the-cinema-of-mediterranean-europe-new-perspectives-for-the-21st-century\/\" \/>\n<meta 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