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Export Reference (APA) 
Veloso, L. (2024). Work and life animated: A look from the works by David Doutel and Vasco Sá. In Pedro Serrazina (Ed.), Perspectives of Portuguese animation: David Doutel and Vasco Sá. (pp. 34-48). Espinho: CINANIMA.
Export Reference (IEEE) 
M. L. Veloso,  "Work and life animated: A look from the works by David Doutel and Vasco Sá", in Perspectives of Portuguese animation: David Doutel and Vasco Sá, Pedro Serrazina, Ed., Espinho, CINANIMA, 2024, pp. 34-48
Export BibTeX 
@incollection{veloso2024_1764949633590,
	author = "Veloso, L.",
	title = "Work and life animated: A look from the works by David Doutel and Vasco Sá",
	chapter = "",
	booktitle = "Perspectives of Portuguese animation: David Doutel and Vasco Sá",
	year = "2024",
	volume = "",
	series = "Olhares sobre a Animação Portuguesa",
	edition = "",
	pages = "34-34",
	publisher = "CINANIMA",
	address = "Espinho",
	url = "https://drive.google.com/file/d/1JCuSYzyceR_grG-F4rz5xzXOy1Vn3lAC/view"
}
Export RIS 
TY  - CHAP
TI  - Work and life animated: A look from the works by David Doutel and Vasco Sá
T2  - Perspectives of Portuguese animation: David Doutel and Vasco Sá
AU  - Veloso, L.
PY  - 2024
SP  - 34-48
CY  - Espinho
UR  - https://drive.google.com/file/d/1JCuSYzyceR_grG-F4rz5xzXOy1Vn3lAC/view
AB  - This article presents an analysis of three films by David Doutel and Vasco Sá – Augur (2018), Soot (2014) and The Shoemaker (2011) –, a defying challenge proposed by Pedro Serrazina, since I do not master the language of animated film. This challenge complements another one I embarked on a few years ago, and which took the form of research about the representations of work in Portuguese cinema (Vidal & Veloso, coord., 2016). I will invoke it in this text in the sense of creating cross-readings about artistic creation. I chose to carry out an approach that favours the elements that are common to the three films. This results from a professional practice, which leads me to look at the social regularities, rather than the singularities, but which I believe has the merit of asserting that the singularities are, in turn, social, that is, they allow the understanding of social realities. These films are like this too: singular stories, of unique characters that mirror structural traits of the society3. Their biographies are, thus, socialised biographies. I therefore seek to contribute with a sociological analysis of these three films, hoping to build bridges between scientific work and artistic creation, a belief that has accompanied me for several years in my personal and professional career.
ER  -