scholarly journals Bacurau: The ‘Deep Brasil’

2021 ◽  
Vol 2 (2) ◽  
pp. 154-155
Author(s):  
Aileen El-Kadi
Keyword(s):  
Brazilian Film

Review of the Brazilian film, Bacurau.

scholarly journals A história oral visita o cinema: Que bom te ver viva e Los Rubios

2016 ◽  
Vol 2 (1) ◽  
pp. 118
Author(s):  
Ana Maria Veiga
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Oral History ◽  
Time History ◽  
Film Maker ◽  
Political Resources ◽  
Palabras Clave ◽  
Brazilian Film ◽  
Siglo Xx

ResumoEste artigo relaciona o cinema, como meio de comunicação, à história oral e seus entrelaçamentos com a história do tempo presente, atentando para os testemunhos, utilizados como recurso estético e político nos filmes Que bom te ver viva, da cineasta brasileira Lúcia Murat, e Los rubios, da argentina Albertina Carri. Podendo ser categorizadas como documentários-ficção, ambas as realizações lidam com os traumas resultantes da violência ditatorial em seus países de origem, na segunda metade do século XX. Em que medida servem estes filmes como fontes para estudos que se apoiam na história oral é o que pretendemos discutir neste artigo. Palavras-chave: Cinema; História oral; Que bom te ver viva; Los rubios AbstractThis article aims to treat cinema, as a way of communication, in its relationship with Oral History and its ties with Present Time History, attempting to testimonies used as aesthetic and political resources inside films like Que bom te ver viva, by the Brazilian film maker Lúcia Murat, and Los rubios, by the Argentine film maker Albertina Carri. Categorized as fictional documentaries, both films deal with the traumas that result of dictatorial violence in their countries of production, in the second half of the twentieth century. How can these films be used as sources of investigation by studies based on Oral History is a question to be answered in this article. Key-words: Cinema; Oral History; Que bom te ver viva; Los rubios ResumenEste artículo relaciona el cine, como medio de comunicación, a la historia oral y sus entrelazamientos con la historia del tiempo presente, al atentar para los testimonios utilizados como recurso estético y político en las películas Que bom te ver viva, de la realizadora brasileña Lúcia Murat, y Los rubios, de la argentina Albertina Carri. Categorizadas como documentales-ficciones, las dos películas se llevan con los traumas resultantes de la violencia dictatorial en sus países de origen, en la segunda mitad del siglo XX. En que medida sirven estas películas como fuentes para los estudios basados en la historia oral es lo que pretendemos discutir en este artículo. Palabras-clave: Cine; Historia oral; Que bom te ver viva; Los rubios. Disponível em:Url:http://opendepot.org/2773/Abrir em (para melhor visualização em dispositivos móveis - Formato Flipbooks):Issuu / Calameo

Beyond Hollywood

2018 ◽  
pp. 113-128
Author(s):  
Maite Conde
Keyword(s):  
North American ◽  
Film Theory ◽  
American Film ◽  
Slave Labor ◽  
The North ◽  
Brazilian Cinema ◽  
Material Reality ◽  
Hollywood Movies ◽  
Brazilian Film

This chapter examines Brazilian director Humberto Mauro’s 1927 film Thesouro Perdido, which was influenced the North American film Tol'able David, directed by Henry King in 1921. The chapter examines discussions regarding mimicry, bringing them to bear specifically on early Brazilian cinema and Brazilian film theory and what has been dismissed as its imitative relationship to Hollywood movies. Analyzing the structure and aesthetics of Mauro’s film, the chapter discusses the differences between it and its Hollywood template, and it locates this difference in the country’s material reality, that is, the remnants of traditional patriarchal structures in Brazil and their roots in slave labor.

Rocha, Glauber (1939–1981)

2018 ◽  
Author(s):  
Peter Baker
Keyword(s):  
New Wave ◽  
Brazilian Cinema ◽  
French New Wave ◽  
Revolutionary Violence ◽  
New Type ◽  
1960S And 1970S ◽  
Brazilian Film ◽  
The 1960S ◽  
New Generation ◽  
Film Critic

Glauber Rocha de Andrade (Vitória da Conquista, 1939–1981) was a Brazilian film critic, screenwriter, producer, and director. Arguably the most important director of the cinema nôvo (New Cinema) movement of the 1960s and 1970s, he began his career as a film critic, writing for well-known Brazilian journals about Italian neorealism and the French New Wave – two crucial influences on his own work. His writings criticized Brazil's commercial cinema and called for a new type of film that would represent the reality of Brazilian life. His most famous essay in this regard is "Estética da Fome" ("An Esthetic of Hunger," 1965). The essay reflects on the neo-colonial condition of Brazilian cinema through the analogy of the starvation of the Brazilian people and the intellectual starvation of its cinematic tradition; anti-colonial revolutionary violence is the only possible solution to these plights. This theoretical viewpoint is reflected in his Deu e o Diabo na Terra do Sol (Black God, White Devil, 1964), a film which earned him recognition on the international scene and in Brazil as the unchallenged leader of a new generation.

Contemporary Brazilian Cinema

2014 ◽  
Author(s):  
Alfredo Luiz Suppia
Keyword(s):  
State Funding ◽  
Film Production ◽  
Private Initiative ◽  
State Laws ◽  
Ticket Sales ◽  
Complete Eradication ◽  
Brazilian Cinema ◽  
Production And Distribution ◽  
Distribution Company ◽  
Brazilian Film

At first glance, contemporary Brazilian cinema seems to be the byproduct of a mid-1990s renaissance in national film production. Accordingly, to better understand contemporary Brazilian cinema, it is advisable to recall the Brazilian film industry’s situation in the 1980s. An unsteady period followed by a major decline in national film production in the late-1980s and early-1990s, these were years illustrated by the dismantling of Embrafilme (Empresa Brasileira de Filmes), culminating in the complete eradication of the state-run film production and distribution company in March 1990. Around 1993–1994, however, a renaissance of Brazilian cinema occurred, in terms of film production and ticket sales, which has been called “Cinema da Retomada.” A cinematic phenomenon, fundamentally fueled by the industry’s access to new sources of state funding, the Retomada was predominately brought about by fiscal exemptions allowed by the Audiovisual Law (Lei do Audiovisual), as well as by grants such as the “Prêmio Resgate do Cinema Brasileiro,” coming from the Ministry of Culture. Later, the Rouanet Law (Lei Rouanet) strengthened the funding not only for film, but for cultural projects and events as a whole. Likewise, municipal and state laws promoting fiscal exemptions also had a fundamental role in the recovery of film production in the country. All these laws allowed the private initiative to redirect funds from taxes to film production. This article will provide a basic bibliography of the aforementioned topics, addressing the economic, sociological, and aesthetic issues related to contemporary Brazilian cinema.

scholarly journals Bergfelder, Tim, Lisa Shaw, and João Luiz Vieira, editors. Stars and Stardom in Brazilian Cinema. Bergahn, 2017.

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Cesar Braga-Pinto
Keyword(s):  
Recent Work ◽  
North American ◽  
Film Studies ◽  
American Universities ◽  
Brazilian Cinema ◽  
Brazilian Film

Film studies have come to occupy a central part of the curriculum in literature and culture departments, particularly in Anglophone universities. This trend is reflected in the growing number of monographs and edited volumes on Brazilian cinema that have appeared over the last decade. Whereas the indisputable pioneers and authorities (namely, Randall Johnson and Robert Stam) are based in North American universities, it is interesting that much of the recent work on Brazilian film (in English) is authored by scholars based in British universities.

scholarly journals Null subjects in contemporary Brazilian filmic speech

Gragoatá ◽  
2020 ◽  
Vol 25 ◽  
pp. 244-267
Author(s):  
Gian Luigi De Rosa
Keyword(s):  
Brazilian Portuguese ◽  
Current Paper ◽  
Null Subjects ◽  
Process Of Change ◽  
Null Subject ◽  
Linguistic Research ◽  
L2 Learning ◽  
Third Person ◽  
Brazilian Film

The present research, based on a corpus of contemporary Brazilian filmic speech – Urban Carioca Sub-Corpus from the I-Fala Corpus of Luso-Brazilian Film Dialogues as a resource for L1 & L2 Learning and Linguistic Research (DE ROSA et al., 2017) –, illustrates how Brazilian Portuguese (BP) has undergone a process of change regarding the representation of referential subjects. A preference for overt pronominal subjects is on the rise, thus transitioning contemporary Brazilian Portuguese from a null subject language to a partial null subject language. The current paper revisits De Rosa (2017), this time including third person subjects and using actual film dialogue transcriptions rather than scripts. The occurrence of null and overt subjects in the corpus is discussed both quantitatively and qualitatively. -----------------------------------------------------------------------------------------SUJEITOS NULOS NA FALA FÍLMICA BRASILEIRA CONTEMPORÂNEAO presente contributo, baseado numa amostra de fala fílmica brasileira contemporânea – Urban Carioca Sub-Corpus do I-Fala: Corpus of Luso-Brazilian Film Dialogues as a resource for L1 & L2 Learning and Linguistic Research (DE ROSA et al., 2017) –, propõe-se observar o processo de transformação que está atingindo o português brasileiro (PB) que está perdendo, à luz de toda uma série de mudanças linguísticas, as caraterísticas de uma língua de sujeito nulo. Nesse contributo, revisitamos De Rosa (2017), incluindo os sujeitos de terceira pessoa, sempre com o objetivo de registrar, em termos quantitativos e qualitativos, a presença do sujeito pleno nos diálogos fílmicos analisados e de confrontar os resultados com os dados da fala espontânea.---Original em inglês.

scholarly journals The Racist and Antiracist Traditions in 21st Century Brazilian Cinema

2017 ◽  
Vol 10 (21) ◽  
pp. 17-28
Author(s):  
Jonathan Warren
Keyword(s):  
21St Century ◽  
White Supremacy ◽  
Racial Politics ◽  
Cultural Workers ◽  
Brazilian Society ◽  
Brazilian Cinema ◽  
Brazilian Film

The seminal study of race and Brazilian cinema is Robert Stam’s “Tropical Multiculturalism”. Since the publication of this groundbreaking book in 1997, there has been remarkably little effort by Brazilian film scholars or critics to deepen and build upon Stam’s central claims or extend his analysis to the 21st century. In this article I hope to reverse this trend and invigorate more discussion and study of racial politics and Brazilian film. To this end, I detail the ways that Brazilian cinema continues to be complicit with white supremacy, highlight and analyze some of the most notable antiracist Brazilian films that have been produced in recent years, and underscore what is at stake for Brazilian society if cultural workers, such as filmmakers, do not reverse course and begin taking on racism in a much more intentional and sustained way.Keywords: Robert Stam. Multiculturalism. Brazilian cinema. Antiracism.

Sign in / Sign up

Export Citation Format

Share Document