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A edição e a montagem como prática criativa: estágio na produtora FILMESDAMENTE, Lda.
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O presente relatório centra-se na exposição do trabalho prático e teórico desenvolvido no âmbito do estágio curricular na produtora FILMESDAMENTE, Lda., com a duração de 600 horas , compreendidas entre 19 de novembro de 2025 e 25 de março de 2026. Apresentam-se os projetos integrados, com foco na contribuição pessoal em cada um destes. Dá-se igualmente destaque às aprendizagens retidas ao longo de cada etapa do percurso na entidade de acolhimento.
A investigação teórica articula-se diretamente com a prática de maior relevância desenvolvida em contexto de estágio curricular, a montagem e edição, abordando-a não apenas enquanto processo técnico, mas como prática de construção criativa, marcada pela sensibilidade, intuição e perspetiva pessoal do editor.
Esta investigação inicia-se através dos fundamentos históricos e teóricos da montagem, abordando autores, movimentos estéticos e conceitos fundamentais para a evolução desta prática, bem como sua reflexão no panorama contemporâneo.
Paralelamente , procura-se estabelecer uma relação direta entre estes conceitos e a prática desenvolvida em estágio curricular, incluindo uma consideração sobre o papel da mulher na edição cinematográfica.
Tem-se como principais referências teóricas autores clássicos como Pu dovkin, Dmytry k e Eisenstein, fundamentais para a compreensão histórica e conceptual da montagem cinematográfica. Paralelamente, autores contemporâneos como Murch, Pearlman, Chion e Nygard sustentam a reflexão da montagem enquanto prática criativa e intuitiva, como apoio às decisões e metodologias aplicadas ao longo da componente prática.
This report focuses on the presentation of the practical and theoretical work developed within the scope of the curricular internship undertaken at the production company FILMESDAMENTE, Lda., with a total duration of 600 hours, conducted between 19 November 2025 and 25 March 2026. The integrated projects developed during this period are presented, with particular emphasis on the personal contribution made to each of them. Special attention is also given to the knowledge and skills acquire throughout each stage of the internship experience within the host institution. The theoretical research is directly connected to the most significant practical work conducted during the internship , film editing , approaching it not merely as a technical process, but as a creative practice shaped by the editor’s sensitivity, intuition, and personal perspective. This research begins with the historical and theoretical foundations of film editing, addressing authors, aesthetic movements, and key concepts that contributed to the evolution of this practice, as well as its relevance within the contemporary landscape . Simultaneously, it seeks to establish a direct relationship between these concepts and the practical work developed during the curricular internship, including a reflection on the role of women in film editing. The main theoretical references include classical authors such as Pudovkin, Dmytryk, and Eisenstein, who are fundamental to the historical and conceptual understanding of film editing. In parallel, contemporary authors such as Murch, Pearlman, Chion, and Ny gard support the reflection on editing as a creative and intuitive practice, providing a framework for the decisions and methodologies applied throughout the practical component of the internship.
This report focuses on the presentation of the practical and theoretical work developed within the scope of the curricular internship undertaken at the production company FILMESDAMENTE, Lda., with a total duration of 600 hours, conducted between 19 November 2025 and 25 March 2026. The integrated projects developed during this period are presented, with particular emphasis on the personal contribution made to each of them. Special attention is also given to the knowledge and skills acquire throughout each stage of the internship experience within the host institution. The theoretical research is directly connected to the most significant practical work conducted during the internship , film editing , approaching it not merely as a technical process, but as a creative practice shaped by the editor’s sensitivity, intuition, and personal perspective. This research begins with the historical and theoretical foundations of film editing, addressing authors, aesthetic movements, and key concepts that contributed to the evolution of this practice, as well as its relevance within the contemporary landscape . Simultaneously, it seeks to establish a direct relationship between these concepts and the practical work developed during the curricular internship, including a reflection on the role of women in film editing. The main theoretical references include classical authors such as Pudovkin, Dmytryk, and Eisenstein, who are fundamental to the historical and conceptual understanding of film editing. In parallel, contemporary authors such as Murch, Pearlman, Chion, and Ny gard support the reflection on editing as a creative and intuitive practice, providing a framework for the decisions and methodologies applied throughout the practical component of the internship.
Descrição
Relatório de estágio
Palavras-chave
Cinema Audiovisual Pós-Produção Montagem Edição Post-production Montage Editing