The funeral ceremonies of Portuguese former King D. Manuel II, August 1932. The arrival of the ship carrying the funerary urn from England, its disembarkation and military ceremonies.
Images of the hospital-ship ‘Gil Eannes’ (1916-1954) in her first journey with the mission of providing health assistance to the cod fishing fleet operating in Terra Nova (Canada).
Incomplet. A film stroll through the parish of São Mamede de Infesta, in the county of Matosinhos: panoramic views and detailed presentation of its streets, population, local traditions and monuments...
Panoramic shot over Santiago de Compostela. A crowd in the streets attends a procession followed by a parade of men with hats, women with veils, people with masks and music bands.
Depiction of the effects of bombings and shots in the façades of buildings in the Largo do Rato area, in Lisbon. Unedited footage.
Unedited footage. Images of the vinification work in the region of Douro: harvesting, treading grapes in the lagar, embottlement, labelling, storing and transport on a freight train.
Unedited footage on the Presidential visit to Oporto on the occasion of the 31st January celebrations (1st attempt of a republican revolution)
Unedited footage of the city of Faro. Images of several sites: Francisco Gomes Square and the garden of Manuel Bívar, railway and dock, the Cathedral and its tower, Ria Formosa.
Film frame.
Film frame of Arthur Costa de Macedo's 'Homenagens aos soldados desconhecidos' ('Tribute to Unknown Soldiers'), 1921.
Film frame.
Film frame of Arthur Costa de Macedo's 'Homenagens aos soldados desconhecidos' ('Tribute to Unknown Soldiers'), 1921.
Film frame.
Film frame of Arthur Costa de Macedo's 'Homenagens aos soldados desconhecidos' ('Tribute to Unknown Soldiers'), 1921.
Film frame.
Film frame of Arthur Costa de Macedo's 'Homenagens aos soldados desconhecidos' ('Tribute to Unknown Soldiers'), 1921.
Portuguese film operator, Manuel Maria da Costa Veiga, remembers the first years of film exhibition in Portugal.
Weekly publication of cinematographic art.
Notes on the cinematographic work of Aníbal Contreiras and César de Sá.
Commentary on the scientific films’ enormous interest, namely those using chronophotography.
Notes on film’s potential in depicting reality with emphasis on some reels on WWI.
Commentary on the historical value of newsreels in terms of search and reconstructing of events.
Notes on the documentary films depicting submarine life, referring some technologies used.
Report on the departure of Augusto Claro to Africa and the reasons behind this departure.