| Latin American cinema |
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| Cinema of Brazil |
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| List of Brazilian films |
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Brazilian cinema has more recently sparked attention overseas thanks to the success of films like Central Station (Central do Brasil) and City of God (Cidade de Deus), though it has always gone through periods of ups and downs, a reflection of its dependency on State funding and incentives. Latin American cinema refers collectively to the Film output and film industries of Latin America. The Cinema of Argentina has a long tradition dating back to the late nineteenth century and has played an important role in the Culture of Argentina for more than The Cinema of Colombia (Cine de Colombia or Colombian Cinema (Cine colombiano refers to the historic evolution of Cinematography in Colombia. Although cinema arrived at Cuba at the beginning of the 20th century and the island arrived early to the television phenomena and cinematographic production only around 80 full-length The history of Mexican cinema goes back to the beginning of the 20th century when several enthusiasts of the new medium documented historical events &ndash most The Cinema of Paraguay is small compared to that of neighbouring Argentina & Brazil. While the Peruvian film industry has not been nearly as prolific as that of some other Latin American countries such as Mexico or Argentina, some Peruvian The history of film in Puerto Rico begins with the US invasion of the island in 1898. The Cinema of Uruguay has a role in the Culture of Uruguay. The industry has many actors and directors that made the Uruguayan cinema a part An incomplete list of the earliest Films produced in Brazil between 1908 and 1929. An incomplete list of Films produced in Brazil in the 1920s. For an A-Z list of films currently on wikipedia see:CategoryBrazilian films An incomplete list of Films produced in Brazil in the 1930s. For an A-Z list of films currently on wikipedia see:CategoryBrazilian films 1930s An incomplete list of Films produced in Brazil in the 1940s. For an A-Z list of films currently on wikipedia see:CategoryBrazilian films An incomplete list of Films produced in Brazil in the 1950s. For an A-Z list of films currently on wikipedia see:CategoryBrazilian films An incomplete list of Films produced in Brazil in the 1960s. For an A-Z list of films currently on wikipedia see:CategoryBrazilian films An incomplete list of Films produced in Brazil in the 1970s For an A-Z list of films currently on wikipedia see:CategoryBrazilian films 1970 An incomplete list of Films produced in Brazil in the 1980s. For an A-Z list of films currently on wikipedia see:CategoryBrazilian films 1980s An incomplete list of Films produced in Brazil in the 1990s. For an A-Z list of films currently on Wikipedia see:CategoryBrazilian films. Films produced in Brazil in the 2000s ordered by year of release on separate pages 2000 Brazilian films of 2000 City of God (Cidade de Deus is a 2002 Brazilian crime drama Film directed by Fernando Meirelles and Kátia Lund It is hard to speak of a Brazilian filmmaking industry, as the term "industry" would imply it is self-sustaining. Film was introduced early on during the turn of the century but took some time to consolidate itself as a popular form of entertainment.
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Early days
A couple of months after the Lumière brothers' invention, a film exhibition is held in Rio de Janeiro. As early as 1898, the Italian Alfonso Segreto supposedly filmed the Guanabara Bay from the ship Brésil on a return journey from Europe, though some researchers question the veracity of this event as no copy of the film remains. In Portuguese, Baía da Guanabara is an oceanic Bay located in southeastern Brazil in the state of Rio de Janeiro. He would go on to make documentaries with his brother Paschoal Segreto. An add of a may 1987 issue of Gazeta de Petrópolis, as shown in 1995 by Jorge Vittorio Capellaro and Paulo Roberto Ferreira, was introduced as the new "birth certificate" of Brazilian cinema, as three short films were advertised: Chegada do Trem em Petrópolis, Bailado de Crenças no Colégio de Andarahy and Ponto Terminal da Linha dos Bondes de Botafogo, Vendo-se os Passageiros Subir e Descer.
During this "belle-epoque" of Brazilian cinema, when black and white silent films were less costly to produce, most work resulted from the effort of passionate individuals willing to take on the task themselves rather than commercial enterprises. Neither is much attention given by the state, with legislation for the sector being practically nonexistent.
Film theaters only become larger in number in Rio and São Paulo late in the following decade, as power supply becomes more reliable. Foreign films as well as short films documenting local events were most common. Some of the first fictional work filmed in the country were the so-called "posed" films, reconstitutions of crimes that had recently made the press headlines. The first success of this genre is Francisco Marzullo's Os Estranguladores (1906). "Sung" films were also popular. The actors would hide behind the screen and dub themselves singing during projection. During the 1920s film production flourished through out several regions of the country: Recife, Campinas and Cataguases. Recife ( heˈsifi is the fifth largest Metropolitan area in Brazil and the capital of the state of Pernambuco. Campinas (kɐ̃ːˈpinɐs is a city and county ( município) located in the state of São Paulo, Brazil. Cataguases is a city located in the southeastern part of the state of Minas Gerais in Brazil.
1930s and '40s
Mário Peixoto's Limite (1930) is poorly received by audiences but eventually regarded as masterpiece of the silent film era, along with Humberto Mauro's Ganga Bruta (1933). Mário Rodrigues Breves Peixoto (1908 — 1992 was mainly known for his first and only film Limite, a silent Experimental movie filmed in 1930 and first Limite is a film by Brazilian director and writer Mario Peixoto (1908-1992 filmed in 1930 and first screened in 1931. Cinédia is founded by Adhemar Gonzaga in 1930 and is dedicated to the production of popular dramas and burlesque musical comedies, a genre which was negatively referred to as chanchada. Chanchada is the name of a genre of (often musical) comedies produced in Brazil. The chanchada would often include satires of Hollywood movies.
Actress Carmen Miranda gained visibility overseas. Carmen Miranda, pron. 'kaɾme͂j mi'rɐ͂dɐ (February 9 1909 – August 5 1955 birth name Maria do Carmo In 1946, Gilda de Abreu's O Ébrio, a film very much representative of typical Latin melodrama, becomes a major hit and draws in around four million viewers. Melodrama refers to theatre in which music is used to increase the spectator's emotional response or to suggest character types President Getúlio Vargas became aware of film's growth and, in 1939, created a decree that guaranteed Brazilian films an exhibition quota in film theaters, a law which still exists, though it is now largely ignored due to lack of proper control. Getúlio Dornelles Vargas (ʒeˈtulju doɾˈnɛlis vaɾgɐs April 19, 1882 – August 24, 1954) served as president of A decree is an order made by a Head of state or government and having the force of Law. While Varga's decree may be seen as a positive or nationalistic measure, it has also been interpreted as a means of state control and intervention.
Atlântida
During the 40's and 50's, films produced by the Atlântida Cinematográfica peaked and attracted large audiences by continuing with chanchadas. Among the actors that became strongly associated with Atlântida who had previously worked in Cinédia films are Oscarito, a comedian somewhat reminiscent of a Harpo Marx and commonly cast as lead, and Grande Otelo, who usually had a smaller supporting role and is often Oscarito's sidekick. Oscarito ( August 16 1906 in Málaga Spain - August 4 1970 in Rio de Janeiro Brazil) was the Arthur Marx (previously Adolph Marx) popularly known as Harpo Marx ( November 23, 1893 &ndash September 28, 1964 Grande Otelo ( October 18, 1915 in Uberlândia, Brazil – November 26, 1993 in Paris, France) is José Lewgoy was commonly cast as a villain while Zézé Macedo often took on the role of the undesired, nagging wife. José Lewgoy (1920 &ndash 2003 was an American - Brazilian Television, Film and Theatre Actor.
The films of this period have often been brushed aside as being overly commercial and americanized, though by the seventies a certain amount of revisionism sought to restore its legitimacy. Despite being overlooked by intellectual elites, these films attracted large audiences as none of the Cinema Novo films would achieve. Today, the telenovela, especially the "novela das sete" (a nickname given to soap operas produced by the Rede Globo channel aired around seven p. A telenovela is a limited-run Television serial Melodrama of the type made famous in Latin America. Rede Globo ( English: Globo Network, better known as TV Globo, Globo TV or simply Globo) is a Brazilian television network m. Mondays through Saturdays) is sometimes identified as carrying on the spirit of the chanchada. Many of the films produced by the company have been lost throughout the years due to fire and flooding of its storage facilities.
Vera Cruz
The Cinematográfica Vera Cruz is a production company founded during the forties and most notable for its output during the following decade. It is in this period that Lima Barreto's classic O Cangaceiro is produced. The movement was named after a large production studio. American genre films were popular in Brazil and filmmakers began emulating them. The western and the detective film were particularly popular. The desire to create American-esque films led to the creation of large scale Hollywood style studios. These films were highly commercialized, which led some directors to begin experimenting with independent cinema. This movement away from commercialized Vera Cruz style films came to be called Cinema Novo, or New Cinema. Vera Cruz eventually bankrupted and closed.
Cinema Novo
The Italian Neorealism followed later in the sixties by the French New Wave (or Nouvelle Vague) fueled a new kind of modernistic and experimental cinema across the globe. Italian neorealism is a style of film characterized by stories set amongst the poor and Working class, filmed on location frequently using nonprofessional Actors "Nouvelle Vague" redirects here For the music group of the same name see Nouvelle Vague (band. In Brazil, this tendency was carried out by its own new wave movement, the Cinema Novo. This article is on the Brazilian film movement For the Portuguese movement see Cinema of Portugal. Glauber Rocha, a very political filmmaker from Bahia, quickly became the most notable director, often held as "leader" of the movement. Glauber Pedro de Andrade Rocha ( March 14, 1939 &ndash August 22, 1981) was an influential Brazilian Film director, Bahia (baˈia is one of the 26 States of Brazil, and is located in the northeastern part of the country on the Atlantic coast His work possesses many allegorical elements, strong political critique and an impeccable mise-en-scène that were readily embraced by intellectuals. Mise-en-scène (mizɑ̃sɛn is an expression used in the theatre and film worlds to describe the design aspects of a production
Rocha often spoke of his films as being a departure from what he considered to be the colonizer's view, to whom poverty was an exotic and distant reality, as well as the colonized who regarded their third world status as shameful. He sought to portray misery, hunger and the violence they generate and thus suggest the need for a revolution. Deus e o Diabo na Terra do Sol and Terra em Transe are some of his most famous works. Black God White Devil is a 1964 Brazilian film directed and written by Glauber Rocha.
Other key directors of the movement include Nelson Pereira dos Santos, Ruy Guerra and Carlos Diegues. Nelson Pereira dos Santos (b 22 October 1928 in São Paulo) is a Brazilian movie director Ruy Alexandre Guerra Coelho Pereira is a Film director, Screenwriter, Film editor, and Actor in Brazil. Carlos Diegues, also known as Cacá Diegues, (born May 19, 1940 in Maceió, Alagoas, Brazil) is a Brazilian Freedom to express political views becomes scarce as the 1964 Brazilian coup d'état takes place and repression increases over the following years, forcing many of these artists into exile. The 1964 Brazilian coup d'état was a Coup d'état held against President João Goulart by the Brazilian military on the night of
B Films
A "marginal cinema" emerges associated with the Boca de Lixo area in São Paulo. Garbage Mouth Cinema ( Cinema da Boca do Lixo) is the collective name for a Film genre associated with the Boca do Lixo ("Garbage Mouth" area In 1968, Rogério Sganzerla releases O Bandido da Luz Vermelha, a story based on an infamous criminal of the period. The following year Júlio Bressane's Killed the Family and Went to the Movies (Matou a família e foi ao cinema) comes out, a story in which the protagonist does exactly what is described by the title. Matou a Família e Foi ao Cinema, ( English: Killed His Family and Went to the Movie Theater) is a Brazillian film directed by Marginal cinema of this period is sometimes also referred to as "udigrudi", a bastardization of the English word underground. Underground culture, or just underground, is a term to describe various Alternative cultures which either consider themselves different from the Mainstream Also popular was Zé do Caixão, the screen alter ego of actor and horror film director José Mojica Marins. José Mojica Marins (born March 13, 1936) is a Brazilian Filmmaker, director, Screenwriter, film and Television
Associated with the genre is also the pornochanchada, a popular genre in the 1970s. Pornochanchada is the name given to a genre of sexploitation films produced in Brazil that was popular during the 1970s and early 1980s As the name suggests, these were sex comedies, though they did not depict sex explicitly. One key factor as to why these marginal films thrived was that film theaters were obliged to obey quotas for national films. Many owners of such establishments would finance low budget films, including those of pornographic content. Though the country was under dictatorship, censorship tended to be more political than cultural. Censorship is the suppression of speech or deletion of communicative material which may be considered objectionable harmful or sensitive as determined by a censor That these films thrived could be perceived by many as a cause of embarrassment, yet they managed to draw in enough audiences so as to stay on the market consistently throughout those years.
1970s and '80s
Films in this period benefited from state-run agencies, most notably Embrafilme. Its role was perceived as somewhat ambiguous. It was criticized for its dubious selection criteria, bureaucracy and favouritism, and was seen as a form of government control over artistic production. On the other hand, much of the work of this period was produced mainly because of its existence.
A varied and memorable filmography was produced, including Arnaldo Jabor's adaptation of Nelson Rodrigues' Toda Nudez será Castigada (1973), Cacá Diegues' Bye Bye Brasil (1979), Hector Babenco's Pixote (1981) and Nelson Pereira do Santos' Memórias do Cárcere (1984). Nelson Falcão Rodrigues ( August 23, 1912 &ndash December 21, 1980) was a Brazilian dramatist, journalist Carlos Diegues, also known as Cacá Diegues, (born May 19, 1940 in Maceió, Alagoas, Brazil) is a Brazilian Bye Bye Brasil (alternative spelling Bye Bye Brazil) is a Brazilian French, and Argentinian 1979 film directed by Carlos Diegues Héctor Eduardo Babenco (born February 7, 1946 in Buenos Aires but raised in Mar del Plata) is an Academy Award -nominated Argentine Pixote a Lei do Mais Fraco ( English: Pixote The Law of the Weakest) ( 1981) is a Brazilian drama Film One of the most successful films in Brazilian film history is an adaptation of Jorge Amado's Dona Flor and Her Two Husbands (1976) by Bruno Barreto. Dona Flor and Her Two Husbands ( Dona Flor e Seus Dois Maridos in Portuguese) is a 1976 Comedy Film directed by Bruno Barreto Bruno Barreto (born March 16, 1955) is a Brazilian Film director born in Rio de Janeiro.
A peak in the number of film theaters is reached in 1975, when 3,276 projection rooms were in existence. Brazilian films sold a total of 275. 4 million tickets the same year.
Retomada and contemporary cinema
The early nineties, under the Collor government, saw a significant decrease in State funding that lead to a practical halt in film production and the closing of Embrafilme in 1989. However, the mid nineties are witness to a new burst in cinematic production, mainly thanks to the introduction of incentive laws under the new FHC government. Fernando Henrique Cardoso, PC (born June 18, 1931) - also known by his initials FHC - was the President of the Federative Republic of The comedy Carlota Joaquina - Princess of Brazil came out in 1995 and is held by many as the first film of the retomada, or the return of national film production. Carlota Joaquina - Princesa do Brasil (in English: Carlota Joaquina - Princess of Brazil) is a 1995 Brazilian Comedy film Since then there have been films with Academy Award nominations such as O Quatrilho, Central Station and City of God. "The Oscar" redirects here for the film see The Oscar (film. O Quatrilho is an acclaimed 1995 Brazilian Drama film directed by Fábio Barreto. The dark urban film O Invasor was chosen as the best film of the period by magazine Revista de Cinema. Some other films that have attracted attention are Carandiru, O Homem Que Copiava, Madame Satã, Behind the Sun (Abril Despedaçado), Olga and Dois Filhos de Francisco, though perhaps some of these would no longer qualify as films of the retomada, since the term is only adequate to describe the initial boost that occurred in the nineties. Carandiru ( 2003) is a Brazilian and Argentine film directed by Hector Babenco. O Homem Que Copiava ( The Man Who Copied) is a 2003 Brazilian Comedy film by Jorge Furtado, set in Porto Madame Satã is a 2002 Brazilian / French Drama film directed by Karim Aïnouz. Behind the Sun ( Portuguese title Abril Despedaçado) is a Golden Globe -nominated 2001 Brazilian film directed by Walter Salles 2 Filhos de Francisco ( Portuguese for Two Sons of Francisco) is a critically-acclaimed Brazilian Motion picture about the lives of
Still common in Brazilian cinema is a taste for social and political criticism, a trait that reflects its strong Cinema Novo influences. Poverty, favelas, drought and famine are themes so common that the term "cosmética da fome", or "hunger cosmetic" (a new take on Glauber Rocha's "ética da fome", or "hunger ethic") was coined as a way to criticize its supposed exhaustion if not exploitation. Favela (Portuguese and Spanish for slum) is a specifically Brazilian word for a Shanty town. For the common movie goer, there has been a shift in perception towards Brazilian cinema as becoming more audience friendly.
Television shows of the Rede Globo network such as Casseta & Planeta and Os Normais have also received film versions and Globo Filmes, Globo's film production branch, has been behind many of the films that have come out over the years, often as a co-producer. Casseta & Planeta is a Brazilian group of comedians who run a TV show named Casseta & Planeta Urgente, broadcast by Rede Globo. Os Normais (in Portuguese, literally "The Normal Ones" is a Brazilian Sitcom directed by José Alvarenga Jr Globo's presence is seen by some critics as being overly commercial, thus compelling certain filmmakers to work outside its system to create independent work.
Documentaries have also had a strong place in Brazilian cinema thanks to the work of renowned directors such as Eduardo Coutinho and João Moreira Salles.
In 2007, the film Tropa de Elite gained headlines due to how quickly pirate DVD copies spread among viewers before its release on theaters, but also due to the large number of audience members who cheered police brutality scenes. Tropa de Elite ('trɔpɐ ʤi̯e'litʃI English title The Elite Squad. Its depiction of drug users as crime sponsors also fueled debates on the legalisation of drugs.
Internal market
Since the 1970s, the quantity of film theaters declined heavily. During the 90's, it became common for small theaters to close while most of the market became concentrated around multiplex theaters, usually found in shopping centers. In the last decades, the accessibility of televisions, now sold at lower prices, combined with Rede Globo's success in making telenovelas of high production quality made cinema less attractive to lower income audiences. In addition, ticket prices increased more than 10 times in a time span of 20 years.
While in the early 1990s Brazilian film production fell into a crisis due to Collor's laissez-faire policy, creating a shock in an area that had always depended on protectionist measures, the retomada allowed Brazilian film to peak again, though not to the same numbers it had once seen before. Laissez-faire ( pronunciation: French,; English,) is a French phrase literally meaning Let do (“allow to do” A significant increase in audience was recorded, however, from 2000 to 2002, with 7 million viewers, to 2003, when 22 million viewers came to theaters to watch national films. Because these films were made possible thanks to incentive laws introduced in the 90's and that the number of viewers drawn in from year to year can fluctuate significantly, it is often questioned whether film production has in fact reached a certain amount of stability and whether or not it could in the future succumb to any governmental whims.
Incentive laws allow Brazilian films to receive funding from companies that, by acting as sponsors, are allowed tax deductions. A common criticism is that, through this system, though films are no longer directly controlled by state, they are, nevertheless, subject to the approval of entrepreneurs who are logically cautious as to which content they wish to associate their brands. Even with funding, there are still areas that require some struggle from filmmakers, such as distribution, television participation and DVD release.
Sources
- AUGUSTO, Sérgio. Esse mundo é um pandeiro: chanchada de Getúlio a JK. Companhia das Letras.
- GOMES, Paulo Emilo Sales. Cinema: trajetória no subdesenvolvimento. Paz e Terra.
- 30 Anos de Cinema e Festival: a história do Festival de Brasília do Cinema Brasileiro / coordinated by Berê Bahia. Brasília, Fundação Cultural do Distrito Federal, 1998.
- CALDAS, Ricardo Wahrendorff & MONTORO, Tânia. A Evolução do Cinema no Século XX. Casa das Musas, Brasília, 2006.
- Brazilian Cinema. Ministry of Culture, Brasília 1999 (catalog).
- Glauber Rocha: del hambre al sueño. Obra, política y pensamiento. Malba - Colección Constantini, Artes Gráficas Ronor S. A. , April 2004.
List of Brazilian films
Film directors
Awards and nominations for Brazilian films
See also
External links
- Cinemabrasileiro.net, web about Brazilian cinema
- Atlântida Cinematográfica website (Portuguese)
- Beyond Cinema Novo by Robert Stam and Randal Johnson (English)
- CINEMA BRASIL - Instituto Cultural Cinema Brasil - Brazilian Movies database (Portuguese, English and French)
- Cinemateca Brasileira (Portuguese)
- Complete list of Brazilian movies (Portuguese)
- On Brazilian Cinema by Michael Korfmann (English)
- Text on Glauber Rocha (English)
- The Rise of the Mandacaru: Brazilian Cinema Renewed by Jorge Didaco (English)
- Vera Cruz website (Portuguese)
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