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Copy of Cinema Novo - The New Brazilian Cinema

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Daniela Soares

on 25 April 2013

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Transcript of Copy of Cinema Novo - The New Brazilian Cinema

Lance Lewis
PORT 516
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

Hollywood-Style melodrama

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

Social emergency


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)
Fábio Barreto

O que é isso companheiro?
(Four Days in September, 1997)
Bruno Barreto

Central do Brasil
(Central Station, 1998)
Walter Salles

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

Wake-up call

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)
Hector Babenco

Deus é brasileiro
(God is Brazilian, 2003)
Carlos Diegues

O Invasor
(The Trespasser, 2002)
Beto Brant

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

Social crisis

Political struggle

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
-John King

A new policy for Brazilian Cinema"
-José Álvaro Moisés

TV Globo, the MPA, and Contemporary Brazilian Cinema
-Randal Johnson

The Cinema that Brasil Deserves
-Carlos Diegues "The cinema that Brasil deserves." O FIM
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