Assuming the multidimensionality of health literacy, new complex and comprehensive approaches are more adequate to specific disease contexts, such as cancer. Assessing cancer literacy levels is a priority, since it entails potential serious implications for disease outcomes and patient’s quality of life. This article reports on the translation and cultural adaptation of the Cancer Health Literacy Test to measure cancer literacy in Portuguese cancer patients. A multidisciplinary team of experts ensured the translation and cultural adaptation of the CHLT-30. A pre-test was conducted in two stages to evaluate the Portuguese version (CHLT-30 PT) in a sample of cancer patients (n = 71). Descriptive statistics were used to characterize the sample. Reliability (test–retest and internal consistency) and construct validity of CHLT-30 PT were assessed. The results obtained show a good internal consistency of the tool, respectively (Cronbach’s alpha = 0.86 in the test and 0.80 in the retest). Patients’ raw score mean in both test (23.96) and retest (25.97) and the distribution of scores categories are not statistically different. A suggestive association between higher education level and better total score was found compared to the results reported in CHLT-30-DKspa. The results obtained in the pre-test are favorable, and the instrument is now suitable for the next steps of the validation process. A Portuguese version of this tool will allow outlining patients’ cancer literacy along the cancer care continuum, enabling the identification and implementation of adequate socio-educational strategies with highly positive impacts on health outcomes.

Policy orientations by the European Union foreground the need to attend to peripheral territories (especially non-dense urban areas), as they combine multiple socioeconomic and cultural asymmetry factors. This applies to cinema, in-between market- and cultural-driven logics, and film exhibition in particular. Theatrical exhibition in Europe remains concentrated in urban multiplexes, where US blockbusters largely dominate, and although the majority of the films released are European, US films account for the majority of admissions. This paper results from an ongoing research about non-commercial exhibition in Portugal. We will present an overview of the European framework and then an outline of the Portuguese cinema policy settings. This overview will contribute to the clarification of the (minor) place and (high) importance of the cultural dimension of film exhibition, especially the role of non-commercial exhibition, an invisible segment in most official data and reports, although strategic to countering cultural inequalities and homogenisation.

O artigo analisa a criação e produção de uma ópera pelo Departamento Educativo da Casa da Música, na perspectiva do trabalho com o envolvimento activo de públicos recrutados em dois bairros sociais da cidade do Porto. Intenta-se problematizar essa experiência inédita, não apenas no contexto português, como também referenciá-la a algumas transformações estruturais das sociedades contemporâneas que põem em causa a(s) análise(s) sobre os públicos culturais.

The article focuses on how the Portuguese arts have dealt with the Portuguese crisis, in the years 2011-2014, when the country was subjected to a financial bailout. The approach is based on a cross-section analysis, considering the domains of literature, fine arts, visual arts and cinema, music and performing arts. It emphasizes three distinct and complementary ways through which the relation between arts and society was developed in these years. The first way is the directly political positioning of artists, through artistic works and performances. The second way is the presence of the crisis as a background of several artistic creations of this time. And the third way is the one by which the crisis projects a new light into consistent topics of the Portuguese artistic imagination, stressing the centrality of collective identity and self-reflexivity. The Portuguese case suggests how promising can be for the sociological explanation of social processes the consideration of their cultural and artistic dimensions.

This article discusses the intersections between authorial and collaborative work in the scope of ethnographic documentary departing from three case studies: two research projects and one citizen collective of participatory media. All case studies were developed in Porto, Portugal, between 2013 and 2020, focusing on the city’s invisibilities and everyday experiences, searching for alternative narratives to the mainstream media when portraying its people and places. This article aims to reflect on how authorial documentary work, followed by self-criticism and self-reflection, can be incorporated into participatory media frameworks in productive ways. The challenges faced by the three cases are intrinsically related and have influenced each other throughout this period, addressing issues related to the representational crisis; the legitimation of subjectivity and the exploration of different styles within documentary; as well as the relationships between the filmmaker, the camera, the subject/character portrayed and the audience. These themes are explored through a series of first-person field reports and the study of authors and directors in the field of documentary filmmaking.