{"id":5336,"date":"2019-01-24T10:11:42","date_gmt":"2019-01-24T10:11:42","guid":{"rendered":"http:\/\/localhost\/cidei\/?p=5336"},"modified":"2025-08-14T08:15:46","modified_gmt":"2025-08-14T08:15:46","slug":"the-musical-and-theatrical-references-of-eca-de-queirozs-the-maias-in-the-film-narrative-of-portuguese-filmmaker-joao-botelho-and-the-portuguese-cultural-identity","status":"publish","type":"post","link":"https:\/\/events.ipv.pt\/cidei\/en\/the-musical-and-theatrical-references-of-eca-de-queirozs-the-maias-in-the-film-narrative-of-portuguese-filmmaker-joao-botelho-and-the-portuguese-cultural-identity\/","title":{"rendered":"The musical and theatrical references of E\u00e7a de Queiroz\u2019s The Maias in the film narrative of Portuguese filmmaker Jo\u00e3o Botelho and the Portuguese cultural identity"},"content":{"rendered":"<p>Sobral, F. (2019).<br \/>\nThe musical and theatrical references of E\u00e7a de Queiroz\u2019s The Maias in the film narrative of Portuguese filmmaker Jo\u00e3o Botelho and the Portuguese cultural identity.<br \/>\nIn\u00a0C. N. G. Mari\u00f1o, L. Miranda (Eds.), <em>Identity Mediations in Latin American Cinemas and Beyond. Cultural Industries, Musical Flows and Transnational Discourses<\/em> (pp. 325-343).<br \/>\nCambridge, Reino Unido: Cambridge Scholars Publishing.<\/p>","protected":false},"excerpt":{"rendered":"<p>Sobral, F. (2019). The musical and theatrical references of E\u00e7a de Queiroz\u2019s The Maias in the film narrative of Portuguese filmmaker Jo\u00e3o Botelho and the Portuguese cultural identity. In\u00a0C. N. G. Mari\u00f1o, L. Miranda (Eds.), Identity Mediations in Latin American Cinemas and Beyond. Cultural Industries, Musical Flows and Transnational Discourses (pp. 325-343). Cambridge, Reino Unido: [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":"","_links_to":"","_links_to_target":""},"categories":[41,55,34,49],"tags":[246],"class_list":["post-5336","post","type-post","status-publish","format-standard","hentry","category-41","category-caplivrointernacional","category-outra","category-viseu","tag-filomena-sobral"],"_links":{"self":[{"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/posts\/5336","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/comments?post=5336"}],"version-history":[{"count":2,"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/posts\/5336\/revisions"}],"predecessor-version":[{"id":17192,"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/posts\/5336\/revisions\/17192"}],"wp:attachment":[{"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/media?parent=5336"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/categories?post=5336"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/events.ipv.pt\/cidei\/en\/wp-json\/wp\/v2\/tags?post=5336"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}