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Afro-Brazilian performance on Rio de Janeiro's popular stages from the 1880s to the long 1920s -- The Rio de Janeiro-Paris performance axis in the first decades of the 20th century : Duque, the Oito Batutas, and the question of "race" -- The Teatro de Revista in Rio de Janeiro in the long 1920s : transnational dialogues and cosmopolitan black performance -- The cultural migrations of the stage and screen baiana, 1889/1950s

This article examines the broad patterns established by the first sound films produced in Portugal. Against the backdrop of the Salazar regime, it focuses in particular on the so-called comdia portuguesa, a cinematic tradition that proliferated in the 1930s and 1940s. It analyses in
detail a paradigmatic example of this tradition, O ptio das cantigas/The Courtyard of Songs (1942). By the 1950s the conventions of these comedy films were hackneyed and yet they continued to be reproduced. This article studies two films from this era, namely Os trs da vida airada/The Fun-loving
Three (1952) and O cantor e a bailarina/The Singer and the Dancer (1959). Particular attention is paid to how these later examples of the musical comedy borrowed from both Brazilian and Hollywood musicals in order to create a celebration of pan-Lusitanian identity.