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.

Brazilian Cinema

2018 ◽  
Author(s):  
Lisa Shaw
Keyword(s):  
Latin American ◽  
Race And Ethnicity ◽  
Film History ◽  
City Of God ◽  
Brazilian Cinema ◽  
1960S And 1970S ◽  
And Gender ◽  
Film Stars ◽  
Brazilian Film ◽  
The 1960S

Studies of Brazilian cinema came to the fore in the 1960s and 1970s with the emergence of the avant-garde, politicized Cinema Novo, which dialogued with New Wave cinemas in Europe, particularly France, and in other parts of Latin America. Several landmark studies by scholars such as Ismail Xavier and Randal Johnson analyzed the movement in depth and remain key works. Since then, scholarship in both Portuguese and English has broadened its scope to embrace commercially oriented Brazilian films dating back to the early sound era, including popular genres (such as in the work of João Luiz Vieira, Stephanie Dennison, and Lisa Shaw), as well as the historical evolution of Brazilian cinema, and the relationship between the film industry and the state throughout the 20th century and into the new millennium. Most recently, various scholars in Brazil and abroad, notably Lúcia Nagib, have analyzed the nation’s cinematic output, particularly since its “rebirth” in the mid-1990s—the so-called retomada—from a thematic perspective, focusing on the reworking of themes from Cinema Novo—such as poverty and violence—in nonpoliticized, box-office hits, such as Central do Brasil (Central Station, 1998, dir. Walter Salles) and Cidade de Deus (City of God, 2002, dirs. Fernando Meirelles and Kátia Lund), or within the wider context of Latin American production. Following in the wake of the seminal work of Robert Stam, issues of race and ethnicity continue to provide a focus for studies of Brazilian cinema, as do questions of sexuality and gender. Scholars are increasingly turning their attentions to questions of the national and the transnational in post-retomada films, and are now looking at Brazilian film history from new perspectives, such as the role and significance of film stars and their marketing, as well as cinema’s relationship with other media and arts.

African and African American Religions in the Early Americas

2018 ◽  
Author(s):  
Jason Young
Keyword(s):  
African American ◽  
Belief Systems ◽  
Subsequent Development ◽  
Religious Practices ◽  
African American Religion ◽  
African Religion ◽  
1960S And 1970S ◽  
The 1960S ◽  
New Generation ◽  
The Relationship

This chapter chronicles the relationship between African religious practices on the continent and African American religion in the plantation Americas in the era of slavery and the transatlantic slave trade. A new generation of scholars who emerged in the 1960s and 1970s have demonstrated not only that African religious practices exhibit remarkable subtlety and complexity but also that these cultures have played significant roles in the subsequent development of religious practices throughout the world. Christianity, Islam, and traditional African religion comprised a set of broad and varied religious practices that contributed to the development of creative, subtle, and complex belief systems that circulated around the African Diaspora. In addition, this chapter addresses some of the vexed epistemological challenges related to discussing and describing non-Western ritual and religious practices.

FRENCH NEW WAVE AND GODARD IN THE 1960S

2013 ◽  
pp. 47-72
Keyword(s):  
New Wave ◽  
French New Wave ◽  
The 1960S

Rohmer, Éric (1920–2010)

2018 ◽  
Author(s):  
Maria Ionita
Keyword(s):  
New Wave ◽  
Moral Choice ◽  
French Film ◽  
French New Wave ◽  
Eric Rohmer ◽  
Theology And Philosophy ◽  
Film Critic

Éric Rohmer (born Jean-Marie-Maurice Schéer) was a French film director, screenwriter, and film critic, best known for his association with the French New Wave, and his sophisticated films exploring the intersections of romantic desire and moral choice. A student of literature, theology, and philosophy with a degree in history, Rohmer started as a teacher, but soon gravitated, like many future New Wave directors, toward Henri Langlois’ Cinémathèque Française and he also began writing for Cahiers du cinéma in 1951. He was its editor from 1957 to 1963.

John Brunner

2012 ◽  
Author(s):  
Jad Smith
Keyword(s):  
Science Fiction ◽  
Major Theme ◽  
New Wave ◽  
Fiction Writers ◽  
Late Twentieth ◽  
1960S And 1970S ◽  
The 1960S ◽  
Own Name ◽  
John Brunner

Under his own name and numerous pseudonyms, John Brunner (1934–1995) was one of the most prolific and influential science fiction authors of the late twentieth century. During his exemplary career, the British author wrote with a stamina matched by only a few other great science fiction writers and with a literary quality of even fewer, importing modernist techniques into his novels and stories and probing every major theme of his generation: robotics, racism, drugs, space exploration, technological warfare, and ecology. This book, an intensive review of Brunner's life and works, demonstrates how Brunner's much-neglected early fiction laid the foundation for his classic Stand on Zanzibar and other major works such as The Jagged Orbit, The Sheep Look Up, and The Shockwave Rider. Making extensive use of Brunner's letters, columns, speeches, and interviews published in fanzines, the book approaches Brunner in the context of markets and trends that affected many writers of the time, including his uneasy association with the “New Wave” of science fiction in the 1960s and 1970s. This book shows how Brunner's attempts to cross-fertilize the American pulp tradition with British scientific romance complicated the distinctions between genre and mainstream fiction, and between hard and soft science fiction, and helped carve out space for emerging modes such as cyberpunk, slipstream, and biopunk.

scholarly journals A World on His Shoulders: Nat Cohen, Anglo-EMI and the British Film Industry

2021 ◽  
Vol 18 (1) ◽  
pp. 34-49
Author(s):  
Laura Mayne
Keyword(s):  
Film Industry ◽  
New Wave ◽  
Scholarly Work ◽  
Box Office ◽  
The Press ◽  
British Cinema ◽  
1960S And 1970S ◽  
Business Acumen ◽  
The 1960S

Despite being one of the most significant players in the British film industry of the 1960s and 1970s, Nat Cohen remains a curiously neglected figure in histories of that era. At Anglo-Amalgamated he oversaw a varied slate of productions, from B-movies and cheap programmers to box-office successes like Ken Loach’s Poor Cow. He greenlit some of the greatest commercial hits of the 1960, including New Wave dramas ( Billy Liar, A Kind of Loving), pop musicals ( Catch Us If You Can) and horror films now widely considered to be classics of British cinema ( Peeping Tom). After Anglo-Amalgamated was acquired as part of EMI’s takeover of the Associated British Pictures Corporation (ABPC), Cohen headed Anglo-EMI, where his business acumen and shrewd commercial instincts led to him being dubbed ‘King Cohen’ by the press and widely recognised as one of the most powerful men in the British film industry. Drawing on recent scholarly work on the role of the producer, this article will explore links between Anglo-ABPC and EMI through the lens of Cohen’s career and distinctive ‘movie mogul’ persona.

Nagisa Oshima

2018 ◽  
Author(s):  
Ryan Cook
Keyword(s):  
Film History ◽  
Public Intellectual ◽  
Political Movements ◽  
New Wave ◽  
Japanese Film ◽  
French New Wave ◽  
Art Film ◽  
Studio System ◽  
The 1960S ◽  
Production Company

Nagisa Oshima (大島渚/Ōshima Nagisa, b. 1932–d. 2013) is a paradox: one of the most iconic filmmakers in Japanese film history, but one whose body of work is among the most iconoclastic. Oshima was a wayward product of Japan’s postwar studio system. He entered the Shochiku Studio in 1954 after studying law at Kyoto University and cut his professional teeth during the studio golden age, but from his feature directorial debut in 1959 he demonstrated the restlessness and unorthodoxy characteristic of the new youth cinema. His 1960 film Cruel Story of Youth (Seishun zankoku monogatari), along with published editorials denouncing the stagnation of the studio system, assured his position as a representative of the Shochiku New Wave, a group of newly promoted young directors marketed as Japan’s answer to the French New Wave (Oshima later said that he disliked the label). He left Shochiku in 1961 in protest over the shelving of his politically charged 1960 film Night and Fog in Japan (Nihon no yoru to kiri), a striking reflection on student movement factionalism, which was pulled from theaters days after its release. He founded his own production company (Sozosha) the same year, and later worked closely with the Art Theatre Guild, helping forge the path for independent art film production in Japan. He was prolific and provocative during the 1960s: both an influential filmmaker and a public intellectual. But despite his visibility, he resisted auteurist assessment. His body of work includes many bold, perplexing experiments, but generally lacks a consistent signature style. The 1960s theatrical films range from the photo roman–style montages of still photographs and drawn images in Diary of Yunbogi (Yunbogi no nikki) and Band of Ninja (Ninja bugeicho) to the Brechtian theatricality of Death by Hanging (Koshikei), his 1968 international breakthrough film. He made television documentaries, and spent much of his late career as a television commentator and personality. His 1976 French-Japanese coproduction In the Realm of the Senses (Ai no korida) tested the boundaries between the art film and pornography, and was the subject of an obscenity trial in Japan. It also placed him at the international forefront of cinematic modernism. Oshima is known for the reliability of his confrontational posture more than for a recognizable style. He interrogated Japan’s postwar democracy, victim consciousness, and political movements as well as Japan’s relationship to its “others” (notably Koreans), and constantly questioned authority. His post-1970s films, notably Merry Christmas, Mr. Lawrence (Senjo no meri Kurisumasu) and Taboo (Gohatto), provocatively explore historical subjects through the lens of homosociality.

Makavejev, Dušan (1932–)

2018 ◽  
Author(s):  
Richard J. Leskosky
Keyword(s):  
First Generation ◽  
New Wave ◽  
Avant Garde ◽  
Found Footage ◽  
Short Films ◽  
Artistic Freedom ◽  
1960S And 1970S ◽  
The 1960S ◽  
Stage Play ◽  
Sexual Repression

Dušan Makavejev is an avant-garde Marxist Serbian filmmaker whose film techniques, exuberant black humour, and sexual and political transgressive themes made him one of the most radical directors of the European New Wave during the 1960s and 1970s. Born in Belgrade, Yugoslavia (now Belgrade, Serbia), he was a member of the first generation of anti-Stalinist communists, and he studied psychology at Belgrade University (where he began making short films). While some of Makavejev’s documentary shorts and a 1962 stage-play were politically suppressed, he was nonetheless permitted to advance into feature production. Along with his earlier writings and shorts, his first feature, Čovek nije tica [Man Is Not a Bird] (1965), established him as a leader in the novi film [new film] movement, which championed artistic freedom and experimentation within a Marxist context. Makavejev’s films were characterised by violent outcomes of sexual repression, outrageous humour, variety/carnival acts, satires of both western capitalism and Soviet authoritarianism, surreal images, a philosophy linking sexuality with politics, and a multi-layered mixture of styles and forms which included documentary, found footage, and clips from older features.

Pereira dos Santos, Nelson (1928--)

2018 ◽  
Author(s):  
Peter Baker
Keyword(s):  
Theoretical Treatment ◽  
Military Dictatorship ◽  
Popular Cinema ◽  
Brazilian Cinema ◽  
Critical Phase ◽  
Literary Adaptations ◽  
The 1960S ◽  
Political Films ◽  
The Military ◽  
Film Critic

Nelson Pereira dos Santos (born in 1928 in São Paulo) is a Brazilian actor, screenwriter, film critic and theorist, producer, and director. He can be considered the initiator of modern Brazilian cinema. His first feature, Rio: 40 Graus [Rio 100 Degrees F.] (1955), jump-started the cinema nôvo [New Cinema] movement that would dominate Brazilian vanguard cinema throughout the 1960s and early 1970s. Throughout more than fifty years of filmmaking, Pereira dos Santos has continued to shape the Brazilian screen. Como Era Gostoso o Meu Francês [How Tasty Was My Little Frenchman] (1971) is his most internationally known film; a departure from his earlier neorealist style, it started a more self-critical phase that reflects on the instability of all ideologies and registers the disappointment with the left in Brazil following the onset of the military dictatorship in 1964. The late 1970s films attempted to create what he called a popular cinema, rejected theoretical treatment, and sought to convey the views of ordinary citizens. He has continued to be an influential filmmaker in the so-called New Brazilian Cinema of the 1990s and today, with political films such as Brasilia 18% (2006). The majority of his films are based on literary adaptations from Brazilian authors. Since 2006 he have been a member of the Brazilian Academy of Letters—the first filmmaker to be nominated.

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