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Copy of Cinema Novo - The New Brazilian Cinema
Transcript of Copy of Cinema Novo - The New Brazilian Cinema
Spring 2013 CINEMA NOVO to the NEW BRAZILIAN CINEMA mainly defined by:
Popular comedy and drama
Big studio production
audience Brazilian Cinema: 1930s & 40s Glauber Rocha Godfather of Cinema Novo Nelson Pereira dos Santos "O Brasil tem vocação para construir uma cinematografia que seja, para o século 21 o que Hollywood foi para o século 20." Carlos Diegues: The New Brazilian Cinema "Chanchadas" Chanchada: "mess" "dirty trick"
*Cheap entertainment/bad taste Born: Vitória da Conquista, Bahia, 1939 Pre-Cinema Novo Entertainment/diversion
Foreign influence and investment
no critical social commentary Conscientização "Cinema Novo is not one film but an evolving complex of films that will ultimately make the public aware of its own misery." - Rocha (Magical Reels) "I am the Cinema Novo." "The artist's goal is to outrage." - Rocha Died: Rio de Janeiro, 1981 Adolescence: Arts, Theater, Drama, Politics Adult Life: (Far) Left-wing filmmaker & theorist *Commercial
Cinema* Exile during dictatorship Films: Barravento (The Turning Wind, 1961)
Deus e o Diabo na terra do sol
(Black God, White Devil, 1964)
Terra em transe (Entranced Earth,1967) Nelson Pereira dos Santos Films: Rio, 40 Graus (Rio, 100 Degrees F., 1955)
Vidas Secas (Barren Lives, 1963) Born: São Paulo, 1928 Como Era Gostoso o Meu Francês
(How Tasty Was My Little Frenchman, 1971) Themes
Underdevelopment 2006: Brazilian Academy of Letters Italian Neo-realism "Neo-realism taught us...that it was possible to make films in the streets; that we did not need studios; that we could film using average people...that we technique could be imperfect, as long as the film was truly linked to [and expressed] its national culture."
Nelson Pereira dos Santos
(Magic Reels) "Ladri di biciclette"
Vittorio di Sica
(Bicyle Thieves, 1948) Themes: poverty
hardship of working class "Vidas secas"
Pereira dos Santos
(Barren Lives, 1964) Cinema in Crisis: 1980s - mid 1990s Collapse of state support
for Brazilian filmmaking
Few films produced
Cinema audiences decline
Embrafilm goes bankrupt
Popular American films fill void Retomada O Quatrilho (1995)
O que é isso companheiro?
(Four Days in September, 1997)
Central do Brasil
(Central Station, 1998)
Cidade de Deus
(City of God, 2002)
Fernando Meirelles, Kátia Lund Estética de fome
"Transforming the poverty of means
into stylistic invention."
- Rocha Manifesto Socio-political criticism
Auteur cinema + social conscience "Cinema Novo shows that the normal behaviour of the starving is violence." (Magical Reels) "Uma nação sentimental, uma nação sem gravata." Rio 40 Graus Role/goal of
Cinema Novo? The New Brazilian Cinema State Policies:
Cultural Sponsorship Laws
Lei do audiovisual
Screen Quota Law
Grand Prize for Brazilian Cinema
Virtuoso Grant Programme
Agência Nacional do Cinema (ANCINE) Brazilian Cinema: 1930s-1940s Ruy Guerra Os Fuzis (The Guns, 1964) Os cafajestes (1962) "Serious" Cinema Commercialization/Americanization
Influence of Classical Hollywood
American cinema genre imitation Semi-documentary
Everyday life of Lower classes
Authentic Brazilian reality Techniques Low budget
Shot on location
non professional actors
Use of children Retomada Continued Carandiru
(Carandiru Station, 2003)
Deus é brasileiro
(God is Brazilian, 2003)
(The Trespasser, 2002)
O Homem Que Copiava
(The Man Who Copied, 2003)
Jorge Furtado Conscience & Mentor of Cinema Novo "Vidas secas"
(Barren Lives, 1964)
Pereira dos Santos Film as Theory "the cinematic mirror" (José Álvares Moisés) Films Quilombo, 1984 Orfeu, 1999 Cinematic Shift - 1960s & 1970s Deus e o Diabo na terra do sol
(Black God, White Devil, 1964)
Glauber Rocha Themes o Sertão / Nordeste
Aesthetics of hunger & violence
Call for revolution Ganga Zumba, 1963 Cinco Vezes Favela, 1962 Hoje "The Brazilian public wants to see well made films that deal with issues that have something to say about their own reality."
Randal Johnson "The outcome of the ideological struggle for the existence of Brazilian cinema is still undefined."
Eduardo Escorel It's amazing how dialectics ruins peoples mimds. They are unable to conceive of entertainment, emotion, and reflection in the same package.
They always think in an exclusive and antagonistic way: it's either art or entertainment. It's sad.
Fernando Meirelles Role of Cinema in Social Consciousness
Art + Awareness + Entertainment Ruy Guerra First Phase: 1960-1964 Aesthetics of Hunger
Sertão & Nordeste
Poverty & Violence
Black & White Second Phase: 1964-1968 Military Coup, 1964
Movement away from "auteur cinema"
Transition to Popular & Profitable Cinema
Need to attract national audience
First color films produced Third Phase: 1968-1972 Themes of Cannibalism & Tropicalism (Tropicália)
Fusion of native Brazilian culture with international influence
More popular/relatable to Brazilians
Selling out? Brazilian Dictatorship: 1964-1985 Cinema Novo movement continues in face of ideological struggle, but begins to lose revolutionary potential
Weaking of socio-political argument and relevance to national audience
Brazilian cinema audiences peak and then decline dramatically Sources:
Cinema Novo to TV Globo: Magical Reels, A History of Cinema in Latin America
A new policy for Brazilian Cinema"
-José Álvaro Moisés
TV Globo, the MPA, and Contemporary Brazilian Cinema
The Cinema that Brasil Deserves
-Carlos Diegues "The cinema that Brasil deserves." O FIM