<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842023000202004</article-id>
<article-id pub-id-type="doi">10.21814/vista.4867</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[O Coliseu do Porto nos Cartazes de Cruz Caldas. Fragmentos de uma Cidade Imaginária]]></article-title>
<article-title xml:lang="en"><![CDATA[The Coliseu do Porto in the Posters of Cruz Caldas. Fragments of an Imaginary City]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Lima]]></surname>
<given-names><![CDATA[Teresa]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Pires]]></surname>
<given-names><![CDATA[Helena]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade do Minho Instituto de Ciências Sociais Centro de Estudos de Comunicação e Sociedade]]></institution>
<addr-line><![CDATA[Braga ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<numero>12</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842023000202004&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842023000202004&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842023000202004&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O estudo preliminar que aqui se apresenta insere-se no âmbito de um trabalho de recolha, análise e divulgação que a Passeio (Plataforma de Arte e Cultura Urbana do Centro de Estudos de Comunicação e Sociedade/Universidade do Minho; https://www.passeio.pt) se encontra a desenvolver, relacionando memória, cultura visual (design gráfico e publicidade exterior) e espaço urbano. Para o caso específico deste artigo, selecionamos uma amostra de 39 objetos gráficos (maioritariamente, cartazes, mas onde também se incluem programas e ilustrações) que o publicitário António Cruz Caldas (1898-1975) elaborou para o Coliseu do Porto, entre 1941 e 1969. Propomos, a partir desse corpus, estimular uma discussão sobre a dimensão cultural da publicidade, reinterpretar o valor de memória do documento de arquivo, construir novas representações sobre a cidade imaginada inscrita nestes documentos e, finalmente, questionar qual o papel do cartaz hoje, numa era de hiperestimulação. A análise da amostra selecionada assenta na classificação sugerida por Abraham Moles (1969/1987), mais especificamente, nas características de &#8220;informação&#8221;, &#8220;sedução&#8221;, &#8220;educação&#8221;, &#8220;estética&#8221; e &#8220;criação&#8221;. Comparando os objetivos iniciais com a análise concretizada, podemos concluir que os cartazes criados por Cruz Caldas com um intuito originariamente de eficácia (publicitar os eventos culturais do Coliseu do Porto), condensam, simultaneamente, uma corrente estética (modernismo), uma praxis individual e uma representação, a um tempo, real e imaginária da vida cultural da urbe, espelhando, por esta via, a dimensão cultural da publicidade. Adicionalmente, ao trazermos para o olhar presente este conjunto documental, não só revelamos o valor dos seus aspetos formais e de conteúdo, como os transformamos em ferramentas de questionamento das práticas atuais. Fazendo-nos imergir no quotidiano da cidade representada por Caldas, o cartaz publicitário leva-nos a reconstruir e a ficcionar o espaço urbano. Por fim, é manifesta, nestes exemplares, a convergência de vários talentos artísticos (trabalho manual, domínio do desenho, influência da ilustração, noções geométricas de movimento e espacialidade), o que acentua o seu estatuto de obra de arte, impelindo-nos a refletir sobre a efemeridade do cartaz hoje e conjeturando o que será o registo da sua memória futura, dada a volatilidade dos suportes atuais.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[The Coliseu do Porto in the Posters of Cruz Caldas. Fragments of an Imaginary City The preliminary study outlined in this paper contributes to a broader project undertaken by Passeio (Platform for Urban Art and Culture of the Communication and Society Research Centre/University of Minho; https://www.passeio.pt), which connects memory, visual culture (graphic design and outdoor advertising) and urban space. For this particular work, we have selected a sample of 39 graphical objects (predominantly posters, but also programmes and illustrations) designed by the publicist António Cruz Caldas (1898-1975) for the Coliseu do Porto from 1941 to 1969. Based on this corpus, we propose to prompt a discussion on the cultural dimension of advertising, reinterpret the memory value of the archive document, create new representations of the imagined city encapsulated in these documents, and, ultimately, challenge the contemporary role of the poster in an era marked by hyperstimulation. The analysis of the selected sample draws upon the classification suggested by Abraham Moles (1969/1987), specifically focusing on "information", "seduction", "education", "aesthetics", and "creation". Comparing the initial objectives with the conducted analysis, we can conclude that the posters created by Cruz Caldas with an originally effective purpose (to promote the cultural events at the Coliseu do Porto) simultaneously condense an aesthetic current (modernism), an individual expression and a representation, at once real and imaginary, of the city's cultural life, thus mirroring the cultural dimension of advertising. Bringing these documents into the present unveils not just their formal and content-related value but also transforms them into instruments for questioning contemporary practices. By immersing us in the city's daily life as depicted by Caldas, the advertising poster prompts us to reconstruct and fictionalise the urban space. Moreover, these examples demonstrate a convergence of diverse artistic talents (showcasing manual skills, adeptness in drawing, influences from illustration, and geometric concepts of movement and spatiality). This amalgamation emphasises their status as works of art, prompting contemplation on the transient nature of the poster today and sparking speculation about how their memory will endure in the future amid the volatility of current media.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[António Cruz Caldas]]></kwd>
<kwd lng="pt"><![CDATA[cartaz publicitário]]></kwd>
<kwd lng="pt"><![CDATA[Coliseu do Porto]]></kwd>
<kwd lng="pt"><![CDATA[cultura urbana]]></kwd>
<kwd lng="en"><![CDATA[António Cruz Caldas]]></kwd>
<kwd lng="en"><![CDATA[advertising poster]]></kwd>
<kwd lng="en"><![CDATA[Coliseu do Porto]]></kwd>
<kwd lng="en"><![CDATA[urban culture]]></kwd>
</kwd-group>
</article-meta>
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