The Genesis of Black Brazilian Cinema, or “Dogma Feijoada”

Black Camera ◽  
2021 ◽  
Vol 13 (1) ◽  
pp. 477
Keyword(s):  
Brazilian Cinema

Brazilian Cinema Today

1978 ◽  
Vol 31 (4) ◽  
pp. 42-45
Author(s):  
Randal Johnson
Keyword(s):  
Brazilian Cinema

Recent Brazilian Cinema: Allegory/Metacinema/Carnival

1988 ◽  
Vol 41 (3) ◽  
pp. 15-30
Author(s):  
Robert Stamm ◽  
Ismail Xavier
Keyword(s):  
Brazilian Cinema

Pluriversal Brazil

2020 ◽  
Vol 74 (2) ◽  
pp. 67-76
Author(s):  
Natalia Brizuela ◽  
Tatiana Monassa
Keyword(s):  
Production Models ◽  
Brazilian Cinema ◽  
Early Late

This conversation with directors Patricia Ferreira Pará Yxapy, André Novais Oliveira, Filipe Matzembacher, Marcio Rolon, and Julia Katharine took place over email exchanges and recorded phone conversations in the weeks between late June and early late August of 2020. In lieu of a real conversation, in person or online, all of the interviewees were sent the same set of questions, upon which they were invited to reflect. The directors were chosen because of the independent production models they work with, and because their voices, here placed side by side, portrays the sense of heterogeneity and pluriversality that today makes up Brazilian cinema.

scholarly journals Using selected scenes from Brazilian films to teach about substance use disorders, within medical education

2012 ◽  
Vol 130 (6) ◽  
pp. 380-391 ◽  
Author(s):  
João Mauricio Castaldelli-Maia ◽  
Hercílio Pereira Oliveira ◽  
Arthur Guerra Andrade ◽  
Francisco Lotufo-Neto ◽  
Dinesh Bhugra
Keyword(s):  
Drug Use ◽  
Signs And Symptoms ◽  
Nonparametric Tests ◽  
Alcohol And Drug Use ◽  
Alcohol And Drugs ◽  
Postgraduate Level ◽  
Brazilian Cinema ◽  
Harmful Use ◽  
Alcohol And Drug Abuse ◽  
Select Material

CONTEXT AND OBJECTIVES: Themes like alcohol and drug abuse, relationship difficulties, psychoses, autism and personality dissociation disorders have been widely used in films. Psychiatry and psychiatric conditions in various cultural settings are increasingly taught using films. Many articles on cinema and psychiatry have been published but none have presented any methodology on how to select material. Here, the authors look at the portrayal of abusive use of alcohol and drugs during the Brazilian cinema revival period (1994 to 2008). DESIGN AND SETTING: Qualitative study at two universities in the state of São Paulo. METHODS: Scenes were selected from films available at rental stores and were analyzed using a specifically designed protocol. We assessed how realistic these scenes were and their applicability for teaching. One author selected 70 scenes from 50 films (graded for realism and teaching applicability > 8). These were then rated by another two judges. Rating differences among the three judges were assessed using nonparametric tests (P < 0.001). Scenes with high scores (> 8) were defined as "quality scenes". RESULTS: Thirty-nine scenes from 27 films were identified as "quality scenes". Alcohol, cannabis, cocaine, hallucinogens and inhalants were included in these. Signs and symptoms of intoxication, abusive/harmful use and dependence were shown. CONCLUSIONS: We have produced rich teaching material for discussing psychopathology relating to alcohol and drug use that can be used both at undergraduate and at postgraduate level. Moreover, it could be seen that certain drug use behavioral patterns are deeply rooted in some Brazilian films and groups.

scholarly journals A razão agoniza em uma casa vazia: modernismo arquitetônico no filme O Desafio

Revista Prumo ◽  
2020 ◽  
Vol 5 (8) ◽  
pp. 22-31
Author(s):  
Carlos Eduardo Pinto
Keyword(s):  
Military Coup ◽  
The Political ◽  
Urban Representation ◽  
Brazilian Cinema ◽  
New Form ◽  
The Impact ◽  
The City

Paulo César Saraceni’s The dare (1965) is a milestone of the Brazilian Cinema Novo. Considered the first cinematographic movie to openly address the 1964 civil-military coup, it also inaugurated a lineage of intimate Rio films, committed to reading beyond the representation of the city through postcard images. The film pays special attention to the scenarios, especially houses and apartments, defining the political and psychological contours of the characters through their interaction with the environments. In this article I make explicit the impact caused by this new form of urban representation and, finally, I make the analysis of two sequences, in which an almost empty modernist house is set against a burning, ruined pension. The aim is to demonstrate that, while the contours of these scenarios define the protagonists’ conflicts, the actions taken in each environment add meaning to the architecture.

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