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Topic: Cinema of Brazil

    Note: these results are not from the primary (high quality) database.

Behind The Sun : Production Notes Based on an analysis of the confrontations between the Pires family and the Camargo family, in São Paulo, and between the Feitosas and the Montes, in Ceará, the book proves that vengeance, in Brazil, takes place in the absence of legal authority. A long process of research was necessary to properly adapt events that happen in the book to be distinctly Brazilian, without sacrificing the core of the story. The challenge was to take Kadaré's book, which is set in Albania, and make it work in a world that Salles understands-his native Brazil. www.cinema.com /article/item.phtml?ID=752   (1492 words)

Walter Salles Quotes If cinema has burgeoned, it's also thanks to the fact that democracy - not economic democracy, but at least political democracy - has returned to a great part of the continent. And what the Italian realists created was not only an aesthetic revolution but also an ethical revolution which influenced the Nouvelle Vague and Cinema Novo in Brazil. At the beginning I was very unsure that it was even possible to do this adaptation because it was such sacred territory in the whole of Latin America; not only the book itself but the iconic quality of Guevara, which is very intimidating. www.brainyquote.com /quotes/authors/w/walter_salles.html   (1226 words)

Film fest becoming marketing point for US, Brazil producers Opening night for 2001 Brazilian Film Festival will be held May 19 on the beach behind the Roney Palace Resort, where the public is invited to a free Cinema on the Beach, featuring "Hunter's Moon," one of Brazil's few action movies, Ms. With the exception of the opening night feature, all films will be screened at Regal South Beach Cinema, 1100 Lincoln Road. Representatives from well-known films festivals, such as the Sundance Film Festival and the Independent Feature Project of New York are scheduled to be panelists, she said. www.miamitodaynews.com /news/010517/story6.shtml   (863 words)

Untitled Document Background on director/film: Glauber Rocha, born in a small town in the state of Bahia in the southern part of the Brazilian northeast (the town of Salvador da Bahia was the colonial capital, and the region was the original site of Portuguese settlement in Brazil) in 1938, was the undisputed genius of cinema novo. It is now seen in Brazil as one of the great classics of cinema novo. Film production context: Glauber Rocha participated from the early days of cinema novo, which began in the late '50s and whose veterans continue to make films today, although its heyday was in the '60s and early '70s. www.library.american.edu /subject/media/aufderheide/antonio.html   (1299 words)

Brazil's New Cinema; N.I.C.E. screens In S.F. "Cinema Novo created a remarkable body of work -- visually stunning, emotionally exuberant, politically provocative, and uniquely Brazilian -- that retains its vitality and power today," says Jytte Jensen, Film and Video Associate Curator, who organized the exhibition. While representatives of the 90's resurgence in Brazilian cinema are reflected in Walter Salles' 1995 low budget thriller "Foreign Land," Beto Brant's New Directors/New Films premiere "Belly Up" (1997), Jose Araújo's "Landscapes of Memory" (1996), Sandra Werneck's "Dictionary of Love" (1996) and Fabio Barretor's Academy Award nominated "O Quatrilho" (1996). Brazil's New Cinema; N.I.C.E. screens In S.F. On The Scene www.indiewire.com /onthescene/fes_98briefs_981110_Brazil.html   (434 words)

The Rise of the Mandacaru: Brazilian Cinema Renewed President Collor was eventually ousted by an impeachment, and in subsequent years (1993-1998), Brazil achieved and enjoyed – through a series of improved laws regarding tax incentives – a resurgent interest in rebuilding its cinematic identity. Throughout the many years of its existence, Brazilian cinema has had its ups and downs – years of explosive aesthetic fertility and years of quiet stagnation and abortive productivity. Old Cinema Novo masters benefited from this breath of fresh air and introduced new perspectives to their body of work imbuing it with startling awareness and clarity. www.sensesofcinema.com /contents/03/28/mandacaru.html   (1772 words)

FilmFestivals.com - Cannes 2000 o say that Ruy Guerra was one of the pioneers of the Brazilian Cinema Novo movement of the 1960s would be to understate the importance of a world figure who has directed some 30 films in South America, Europe, and Africa. In addition, he has scripted or co-scripted nearly all his films, has worked as a film editor and cinematographer, acted in the films of others on occasion (including Werner Herzog's Aguirre, Wrath Of God, shot in the Amazones of Brazil), and usually produces himself every film he sincerely believes in. Moving on to Brazil, Guerra started but didn't finish two short films, but was on hand for others in the burgeoning Cinema Novo movement. www.filmfestivals.com /cannes_2000/official/estorvo.htm   (610 words)

Film, TV, Video and Broadcast - Production Companies - page 49 Cinema Animadores, Rua Tupi 538, Pompeia, 01233000 São Paulo, Brazil Cinema Centro, Rua Geraldo Flausino Gomes 78/6 andar, 04575 060 São Paulo, Brazil Cinema Novo CRL, Rua Aníbal Cunha 84, Sala 1.6, 4050-046 Oporto, Portugal www.kftv.com /group-KG01-49.html   (610 words)

Cine Las Americas Clearly personally affected, Gil peels back layers of traditions to reveal a social context for the popular myths rituals, music and lives of the people from Brazil's outback sertaõ – long a place fable in music, literature and film, particularly Cinema Novo. Deus e o Diabo na Terra do Sol (God and the Devil in the Land of the Sun) is a Brazilian classic directed by Glauber Rocha, the most influential Brazilian filmmaker to come out of the Cinema Novo. The second feature film by Glauber Rocha and the greatest explosion of talent in the history of Brazilian cinema. www.cinelasamericas.org /press/brazilpr.html   (931 words)

Triad/Triangle film festival to screen work from six Latin American nations Nov. 3-19 Pereira dos Santos was prominent in Brazil's Cinema Novo movement of the '60s and '70s, which sought to establish a genre of popular national film not influenced by foreign work. Won best picture and best actress awards at the Cinema Brazil Festival and was the official selection of the Sundance Film Festival in 2001. Titled "Silent Film, Cinema Novo, Contemporary Trends/Cine Mundo, Cinema Novo, Tendencias Contemporaneas," the festival will depict periods ranging from the era of silent pictures to today's postmodern works. www.unc.edu /news/archives/oct02/lafilms102402.htm   (2876 words)

Cinema Minima: Personal Digital Cinema. News service for movie makers RIO DE JANEIRO (CINEMA MINIMA) — Most of the huge audience, who was not even born when Linda Lovelace made history, applauded enthusiastically her performance in the restored copy of Gerard Damiano’s 1973 DEEP THROAT, literally translated in Brazil as GARGANTA PROFUNDA. VENICE (CINEMA MINIMA) — A filmmaker can reduce the amount — and the cost — of 35mm film used by one quarter, by using a camera which advances the film by only three perforations, instead of the standard four perforations. (BOSTON) CINEMA MINIMA — Oscar winner Gwyneth Paltrow is gearing up for another family project she has signed up to be directed by her brother, American TV series “NYPD Blue” director, Jake Paltrow, in the upcoming US$15 million romantic comedy THE GOOD NIGHT. www.cinemaminima.com   (2876 words)

International Cinema (Yale Library Film Studies) Part of the cultural project Cinema Brazil na Internet, authorized by Brazilian Ministry for Culture. A website for a course at Mt. Holyoke that critically examines the functions of films and cinemas in contexts and countries whose nationhood and cultural references are informed by colonial and anticolonial histories. Kinema Club is an informal group of scholars studying Japanese cinema and other moving image media. www.library.yale.edu /humanities/film/international.html   (2876 words)

Brazilian Movies In Brazil many of these slaves were able to run away and form their own communities known as "quilombos." The only similar phenomenon in the United States that I can think of is the experience of the Seminoles who were a mixture of fleeing Creek Indians and escape black slaves along with other strains. In Brazil there is a tradition of the "malandro," those persons who use their wits and somewhat questionable moral methods to navigate their way through a society characterized by considerable class and race inequality. The movie is a metaphorical analysis of the Brazilian character as expressed in the tale of a native Indian who leaves the Amazon jungle and goes to the big city. members.aol.com /plcooney/brmovies.html   (2934 words)

The Film Industry in Brazil and Argentina The consequence for the relative cultural stability found in Brazilâs history÷at least as it compares to the rest of Latin America÷, along with government insistence on creating a national cinema, posit the country ahead of other nations in the continent as far as the cinematic industry is concerned. There was an estimated 50% reduction in film attendance in Argentina between 1974 and 1984, while "the number of cinemas also fell by 50 percent from 2100 in 1967 to 1000 in 1985" (92). Foreign films saturated the market, "42% of which were North American." Also, the film industry work force faced drastic reductions: "Film labs laid off more than 50% of their personnel; in one case the dismissal accounted for 75% of the workers" (Martin 457). www.history.pdx.edu /hdwp/economy/film_ec.html   (1975 words)

Cinema of Brazil - Wikipedia, the free encyclopedia Cinema of: Argentina · Bolivia · Brazil · Chile · Colombia · Ecuador · Guyana · Panama · Paraguay · Peru · Suriname · Trinidad and Tobago · Uruguay · Venezuela Today Brazilian cinema is seeing the return of its popularity with movies like Central do Brasil, Carandiru (movie) and Cidade de Deus (City of God). Brazilian Bombshell: In colored clothes and platform shoes, Carmen Miranda, who died 50 years ago, conquered Hollywood and became the most famous Brazilian artist of the 20th century en.wikipedia.org /wiki/Cinema_of_Brazil   (158 words)

Cinema Novo and Beyond Cinema Novo underwent significant transformations in the late '60s and '70s, until, by 1977, director Carlos Diegues could say, "Cinema Novo as a group no longer exists, above all because it has been diluted into Brazilian cinema." Two late-'60s films shown in the series mark different aspects of this development. "Cinema Novo and Beyond," a retrospective organized by the Museum of Modern Art and the Brazilian Ministry of Culture, is a rare opportunity to explore in depth how these images -- and many less familiar ones -- have functioned within the Brazilian cinema. The Cinema Novo movement of the early '60s first put Brazil on the map of world cinema. www.bostonphoenix.com /archive/movies/99/02/25/cinema_novo_and_beyond.html   (1392 words)

Coming soon to Brazil: More movie screens Most importantly for Brazil's weak economy, the Cinema for All initiative is expected to trigger greater foreign investment, particularly from major studios such as Columbia Tri Star, Warners and Fox, all of whom are have recently produced, or are planning to produce, local language films in the country. According to the trade publication Screen International, Cinemark is building an eight-screen, 2,150-seat theater in the southern Brazilian city of Curitiba, which is scheduled to open in mid-December 2003. Brazil has embarked on an ambitious campaign to build hundreds of new multiplexes in the country's vastly underscreened rural and poor urban areas. www.vnuemedia.com /thr/pwc/talking_display.jsp?vnu_content_id=1000809513   (1005 words)

The Gauteng Film Office makes inroads into Brazil's film industry The exhibition will encompass a cross-section of films, exploring the diversity and creativity which has been the spirit of South African cinema since '94. Brazil also has the largest population - approximately 90 Million - of African descendents outside of the African continent." In Brazil the GFO successfully initiated new opportunities and strategic partnerships for the Gauteng, and in turn the South African, film and television industry. www.biz-community.com /Article.aspx?c=11&l=196&ai=2304   (753 words)

Coming soon to Brazil: More movie screens Most importantly for Brazil's weak economy, the Cinema for All initiative is expected to trigger greater foreign investment, particularly from major studios such as Columbia Tri Star, Warners and Fox, all of whom are have recently produced, or are planning to produce, local language films in the country. According to the trade publication Screen International, Cinemark is building an eight-screen, 2,150-seat theater in the southern Brazilian city of Curitiba, which is scheduled to open in mid-December 2003. Brazil has embarked on an ambitious campaign to build hundreds of new multiplexes in the country's vastly underscreened rural and poor urban areas. www.hollywoodreporter.com /thr/pwc/talking_display.jsp?vnu_content_id=1000809513   (1005 words)

Brazil - BRAZZIL - Press Release Cinema Novo and Beyond - Brazilian Cinema - November 1998 Cinema Novo and Beyond is a collaboration between the Ministry of Culture, Brazil, and the Department of Film and Video, The Museum of Modern Art, New York. Dos Santos moved away from the increasing avant-gardism of Cinema Novo with this film made “for the people.” It is a magical thriller—both a gangster film and a celebration of the Afro-Brazilian religion Candomblé as a key element in popular culture. Cinema Novo and Beyond showcases the variety of exuberant, provocative, visually stunning feature films, as well as very important short documentary films of the movement; and it also introduces us to the Udegrudi, the adventurous Underground cinema whose name is a purposeful bastardization of the English word. www.brazzil.com /pr3nov98.htm   (7369 words)

Allegories of Underdevelopment Examines the centrality of Cinema Novo to filmmaking in Brazil. A compelling chronicle of the history of modern Brazilian cinema, Allegories of Underdevelopment brings to light the work of many filmmakers who are virtually unknown in the English-speaking world. Its best-known voice, filmmaker Glauber Rocha claimed that Cinema Novo was driven by an "aesthetics of hunger." This scarcity of means demanded new cinematic approaches that eventually gave rise to a legitimate and unique Third World cinema. www.upress.umn.edu /Books/x/xavier_allegories.html   (289 words)

Aesthetics and Politics in Modern Brazilian Cinema (Review) Writing in 1965, looking back on the first years of Cinema Novo, Rocha observed that violence is an authentic cultural expression of hungry people and he called for a cinematic style that would articulate the "real" Brazil: her hunger, her discontent, and her lack of hope. The Cinema Novo films from 1964 to 1968, considered the second phase of the movement, responded to the repressive atmosphere and the reversal of social reforms by analyzing the failure of the left-wing politics they espoused. In response to the coup, Cinema Novo filmmakers concentrated on positioning their social criticism within films that would appeal to the mass audience and would perform at the box office. www.worldagesarchive.com /Reference_Links/Aesthetics_Politics_Brazil.htm   (988 words)

ArtandCulture Artist: Glauber Rocha In this in-depth essay, the origins and characteristics of Cinema Novo, Brazil's answer to the French New Wave, are brought to life. Although Rocha left behind only a handful of completed projects, his efforts to create a unique film vernacular based on Brazilian popular culture, aesthetics, and themes made him the unquestioned figurehead of the important Cinema Novo movement. Cinema Novo officially began in 1962 with Rocha’s "Barravento," a Neo-Realist drama about the exploitation of black fishermen in Bahia. www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=835   (570 words)

Meridian Magazine :: Arts : Tempest in a Teapot? “Mormon Cinema” is usually defined as films with character(s)s that are notably Mormon or a theme that embraces well-defined aspects of Mormonism. If you are aware of the outstanding young generation of LDS moviemakers working in or toward the Hollywood mainstream [not named or numbered as a part of Mormon Cinema] you might share my hope that it is the dawning day that Mormon-made movies catch a glimmer of light from the vision of a prophet. The unexpected message from a young woman in Brazil made me realize that my opinion of movies made by Mormons for Mormons is not only irrelevant but also contrary to the reaction of some and perhaps many of the audience starved for something different than the predictable fodder of Hollywood.  Entertainment is highly subjective. www.meridianmagazine.com /arts/040909tempest.html   (570 words)

Porto Das Flores MG ILHA DAS FLORES roteiro de Jorge Furtado março/1989 produção: Casa de Cinema de Porto Alegre... 2005 - - Directório - Flores - Porto e-Noivos.com... Pousada das Flores, Rua Eredes Serpa, 167, (47)369.5360. cidades.gigabusca.com.br /porto-das-flores-mg.html   (570 words)

Cinema Tropical Premiere Brazil Program This sensitive film explores the relationship between Paco and Tonho, two of the many illegal Brazilian immigrants barely holding on to the fringes of New York City. It is 1570, and the queen of Portugal has sent a group of orphans to Brazil to marry the first colonizers. For seven days, a film crew headed by Coutinho, Brazil's master of documentary filmmaking, shot the everyday life of people living in "the Master," a building located in Copacabana, a block away from the beach. www.cinematropical.com /2003schedules/premierebrazil.html   (675 words)

Module Six A Latin American film movement which followed and was influenced by Cinema Novo of Brazil. The origin of the term, used to distinguish this kind of filmmaking from cinema verity, is attributed to Albert Maysles. A type of location, nonfiction, "close observation" cinema in which lightweight cameras and sound recorders are used to record action as it actually happens with indigenous sound only. www.okccc.edu /rrouillard/Modulesix.html   (675 words)

Framework: The Journal of Cinema and Media In the cinema of the 60s, the combination of popular and high culture echoed both the concept of Gramsci's organic intellectual and the democratic principles of Brazilian modernism, which tried, in a single move, to banish elitism from high culture and to enhance the importance of popular culture. Following this general trend, the contemporary Brazilian film maker seems to be on good terms with his or her country, although, as we know, the main problems of social inequality that plagued Brazil in the Cinema Novo days have essentially remained the same. She is the author of Werner Herzog - o cinema como realidade (Estação Liberdade), Em torno da 'nouvelle vague' japonesa (Editora da Unicamp) and Nascido das cinzas - autor e sujeito nos filmes de Oshima (Edusp). frameworkonline.com /42ln.htm   (6342 words)

Brazil - BRAZZIL - Cinema Novo and Beyond - Retrospective of Brazilian movies - Brazilian Cinema - December 1998 The series, CINEMA NOVO and BEYOND, provides an opportunity to see pivotal films considered to be the beginning of Brazilian cinema and, in the process, introduced to world audiences filmmakers such as Joaquim Pedro de Andrade, Carlos Diegues, Gláuber Rocha and Nelson Pereira dos Santos. Additionally, the series features new productions from the next generation of Brazilian filmmakers who have demonstrated new courses for Brazilian cinema and who are earning a new legion of fans with global recognition much like their predecessors almost three decades before. This comprehensive Brazilian cinema retrospective is the first in Los Angeles in over decade. www.brazil-brasil.com /pages/pr1dec98.htm   (858 words)

Hommage au Cinéma Brédilien ::: Release in English A Tribute To Brazilian Cinema commences Sunday 16 May with an opening screening of Bye Bye Brazil in the Palais des Festival, and continues with a daily series of screenings and events through to Thursday May 20th. A Tribute To Brazilian Cinema is also intended to act as a platform to reinforce the Latin contingent in the Producers Network, the body which is geared to bringing together Latin American producers and investors with producers from all over the world. Marks 40 Years of Cinema Novo with screenings and visits by leading directors and filmmakers. www.festivaldorio.com.br /f2004/hommage/hommage_eua.htm   (337 words)

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