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Topic: Glauber Rocha

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	Glauder Rocha - Cinema in Brazil
		Glauber Rocha was one of the most important movie directors in Brazil.
		Glauber Rocha's sceneries in its films as God and the devil in the earth of the sun (1964), Antonio of the deaths (1968) and Earth in he/she Understands one another (1967) they are at that time symbols of the situation of the Brazilian movies of its accomplishments: poor, primitive and beggar.
		Glauber Rocha's movies is reminded as an opening and a first step in direction the autonomy and expression of the national movies.
	www.brazilbrazil.com /rocha.html (1498 words)

	Reckless eyeballing (Detroit Metro Times)
		Rocha coined the term "digestive cinema" for "films about rich people with pretty houses riding in luxury automobiles; cheerful, fast-paced, empty films with purely industrial objectives." Then there are the films which "grind everything down to its basic ingredients, blend in the ideology and give the whole thing to the public pre-digested."
		Rocha was one of the foremost practitioners and theorists of Cinema Novo, a movement that set out to depict Third World social and political realities from a Third World perspective.
		Rocha’s hungry Brazilian everyman, the rural peasant Manuel, struggles alongside his wife Rosa to scratch a meager living from the desiccated soil of the sertao.
	www.metrotimes.com /20/15/Columns/videobot.html (823 words)

	Guardian Unlimited Film \| Features \| Gauber Rocher: Antonio das Mortes
		Glauber Rocha, potentially a great film-maker, died a disappointed and drug and alcohol-riven man at the age of only 43 in 1981.
		Glauber Rocha's films, however, are an extraordinary legacy of the greatest days of the Brazilian cinema.
		Glauber Rocha originally called the film The Dragon of Evil against the Warrior Saint, with the landlord Horacio as the dragon, accompanied by the attractive and enigmatic Laura, one of several female figures Glauber Rocha seemed to regard as capable of treachery.
	film.guardian.co.uk /Century_Of_Films/Story/0,,361629,00.html (509 words)

	Rotten Tomatoes Forums - Some Glauber Rocha's articles
		In 1966, while he was waiting for the beginning of his new motion picture, Glauber Rocha produced two short length documentaries as follows: "Amazonas Amazonas" and "Maranhão 66"; the plot of the last one referring to the entrance into office of the then Governor José Sarney.
		Glauber places a question that in my opinion was not surpassed or decided nor by the Brazilian cinema, nor for the television, nor for the international cinema.
		Glauber Rock carries through a workmanship here cousin who exactly after 37 years, continues current and in she has them much to say regarding our culture the references the twine (**) literature are very rich and interesting.
	www.rottentomatoes.com /vine/showthread.php?t=198663 (2660 words)

	There's Nothing More International Than a Pack of Pimps
		Rocha: The principle of the art-house circuit is reactionary today, because it imposes a certain type of film and tends to create its own closed market.
		Rocha: I feel that in the socialist cinema, the most important films are those which lead to a dialectical discussion of socialism.
		Rocha: This discussion tends to be ridiculous at times, because you could have had exactly the same sort of discussion at any point in history, around the novel, or poetry, opera, music...
	www.rouge.com.au /3/international.html (5613 words)

	Barravento homepage: roots samba, music from Brazil
		Glauber Rocha's film Barravento is an impressionistic tale of a fisherman's village in Brazil and the paralyzation that ensues as the denizens of the village try to confront the necessary evils of modernity versus the reassuring interpretations of the surviving African religions they continued, namely the candomble and umbanda religions.
		Furthermore, Rocha's sensitivity to the proletarian class as expressed through control of the camera self defeated his goal of painting the evils of blind faith.
		For the candomble people the two were inseparable and therefore Rocha's attempt was undermined by the strength of the images of the people carrying out their religion, entertainment, and work in one process.
	www.ucl.ac.uk /~ucahcjm/barravento/glauba_plot.html (416 words)

	ninemsn Encarta - Search Results - Rocha Glauber
		This impetus, which gained momentum and coherence in the 1960s, became known as the new cinema movement.
		Rocha, John (1953-), Hong Kong born designer of Chinese and Portuguese descent.
		Rocha studied fashion at Croydon Art College in London and his...
	au.encarta.msn.com /Rocha_Glauber.html (90 words)

	Aesthetics and Politics in Modern Brazilian Cinema (Review)
		Xavier begins with Glauber Rocha, probably the best known of the Cinema Novo directors and the author of "The Aesthetic of Hunger," an essay which presents one of the most important polemics of the movement.
		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 emphasis on Rocha derives from the filmmaker's importance within an evolving cinematic movement and his representation of a nation in flux.
	www.worldagesarchive.com /Reference_Links/Aesthetics_Politics_Brazil.htm (988 words)

	Cannes Film Festival (Site not responding. Last check: 2007-10-11)
		Glauber Rocha died at the age of 42 on August 22nd, 1981.
		He was a young filmmaker when Glauber Rocha died in 1981, and was invited by two other filmmakers - Carlos Diegues and Joaquim Pedro de Andrade - to film the funeral, just as Glauber had done at the funeral of Di Cavalcanti, one of Brazil's greatest painters, in the documentary Di.
		Glauber Rocha was a journalist, film critic, director, thinker, writer, controversial cultural activist and the most important name in the New Cinema of Brazil.
	www.festival-cannes.org /films/fiche_film.php?langue=6002&id_film=4193963 (554 words)

	Brazilian Cinema Promotion - Movies Catalogue (Site not responding. Last check: 2007-10-11)
		Glauber Rocha began his career with the experimental short films Patio (1957) and Cruz na Praca (1959) and, finally, the feature-length Barravento (1962).
		Glauber Rocha’s third full-length feature after “Barravento” (1960-1961) and “Deus e o diabo na terra do sol” (“Black God, White Devil” — 1964), “Terra em Transe” (“Earth Entranced”) could be seen as a poetic and political manifesto on the part of the director, which was made right under the nose of the Brazilian military dictatorship.
		Glauber Rocha’s funeral, with the backdrop of “Earth Entranced” can be seen in “Glauber The Film, Labyrinth of Brazil”, a documentary by Silvio Tendler — Cannes 2004 official selection out of competition.
	www.gnctv.com.br /braziliancinema/catalogue/film.jsp?id=36 (506 words)

	THE THINKING EYE - Latinoamerican & spanish cinema online magazine
		Glauber Rocha by José Carlos Avellar is the sixth volume in an uneven series devoted to Latin American film, whose previous editions are dedicated to Tomás Gutiérrez Alea (José Antonio Évora), Fernando Birri (Fernando Birri), Nelson Pereira dos Santos (Helena Salem), Arturo Ripstein (Paulo Antonio Paranagua) and Patricio Guzmán (Jorge Ruffinelli).
		In this occasion, Avellar is betting on a non chronological revision of Rocha’s work, as if in order to go into the complex world of the director of Deus e o diabo na terra do sol, a conventional logical structure would be insufficient.
		Because Glauber Rocha is not a volume for simple presentations like those that are used just to acquaint us with a filmmaker, even though we have not seen his films.
	www.elojoquepiensa.udg.mx /ingles/revis_03/secciones/celupape/artic_01.html (1090 words)

	ArtandCulture Artist: Glauber Rocha (Site not responding. Last check: 2007-10-11)
		Rocha was the movement’s guiding spirit, both in theory and in practice, as he and other filmmakers sought to develop a new cinematic language that was genuinely Brazilian and Latin American.
		Rejecting the models of Hollywood and European film, Rocha argued that the core of Latin American reality was "an aesthetic of hunger and violence." Cinema Novo needed unique vision and a worldly aesthetic, not Golden Age glamour and Bergmanesque nuance.
		Rocha’s first color film was the extravagant "Antonio das Mortes" (1969), an operatic drama in which a bounty hunter becomes a hero.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=835 (570 words)

	3continents. Fiche réalisateur (Site not responding. Last check: 2007-10-11)
		I was a first-hand witness of this in 1969 in Venice, in the 1970s in Rome where he used to live with French film-maker and actress Juliet Berto, and especially in February 1981, six months before he died, in Sintra, Portugal where, as a sick man, he was trying to rest.
		A film-maker, Glauber has also been a myth for a long time now: many people know his name but have never seen a film of his.
		Incidentally, part of Glauber's work was contemporary with Free Jazz, as a cinema of true violence, inner and outer violence, a cinema of tearing apart, a cinema of fulguration.
	www.3continents.com /3continents/fiche_dir_eng.jsp?directorid=348 (453 words)

	Brazil - BRAZZIL - Press Release Cinema Novo and Beyond - Brazilian Cinema - November 1998 (Site not responding. Last check: 2007-10-11)
		The film deals with Antonio’s coming to political consciousness in the face of natives who are claiming squatters’ rights, of the god-struck young woman who is their spiritual leader, and of the corruption and greed of the landowners he works for.
		Glauber Rocha’s most controversial film at home and influential film abroad, this is a work of great imagination and beauty, an operatic spectacle that nevertheless conveys a very true sense of the violence and irrationality that characterize political life in a country scarred by underdevelopment.
		A conversation between Glauber Rocha, Helio Oiticica, and the director—with star appearances from José Mojica Marins and Paco Rabal.
	www.brazil-brasil.com /pages/pr3nov98.htm (7369 words)

	Glauber Rocha
		From Terra em transe (1967) (2) on, Rocha's films resemble the didacticism of Godard's Dziga-Vertov period, but damn if they were ever as detached from their causes as those films, so stilted in their narration, so caught in their time that – as the years have proved – they've barely moved forward at all.
		Rocha never squandered a moment of his life after he became a director – you could say he was “born” into it at 20, and never looked back.
		Rocha's career seemed to encompass all aspects of Brazilian film and culture, major and minor; even in his last effort, it was the little guys that he connected to.
	www.sensesofcinema.com /contents/directors/05/rocha.html (2661 words)

	films (Site not responding. Last check: 2007-10-11)
		Considered as the major and most controversial film by Glauber Rocha, and shot under the very noses of the Brazilian military dictatorship, the film confirms the political and social acuity of the filmmaker regarding the persistent stalemate in Brazil and Latin America.
		A complete revolution for the time, due also to its strong social content, the film reaffirms Rocha’s genius and expresses his poetic and political manifesto.
		The high-definition restoration of this classic of Latin-American cinema is the result of meticulous work (it is the first long film restored entirely by digital procedure in Latin America) that allows the film to be re-released with the same quality of its first copy, four decades later.
	www.fiff.ch /en/fiche_film.php?lang=en&idfilm=685 (202 words)

	.:: TEMPO GLAUBER ::.
		When the subject is Glauber Rocha, stones might shiver, for he was the one who brew, in a tempestive fashion, a strong revolucionary movement in Cinema among film makers of his generation, and still influences directly or not, the arts and the politics in Brazil.
		The Tempo Glauber opens this site for those who appreciate and are interested in the films and other productions by Glauber Rocha.
		Maybe you will think that trying to separate and label his sayings and his lines is kind of arbitrary, for in his continuous practise of free artistic expression and thought, he added cinema, science, literature and politics to facts from the immediate reality or to aspirations of the beloved utopia.
	www.tempoglauber.com.br /Ingles/principalig/indexB.htm (311 words)

	[No title] (Site not responding. Last check: 2007-10-11)
		Rocha was born in Bahia in 1938 and he was deeply influenced by his origins, a mix of African, Portuguese and Indios culture.
		Rocha tried then with Ader Leone have sept cabezas (1969), to explore the history of Africa and its conquest, through the experiences of those who had been conquered.
		Rocha always refused traditional communication and realism and he was considered an isolated artist: it is difficult, therefore, to single out his artistic links with Italy or any other country also in consideration of a cinema which from the Nouvelle Vague to the '68 has positively viewed the isolated vision of the artist.
	www.italiannetwork.it /cinema/cinema41/cinema_e.htm (1004 words)

	Parabólicas: DotDoc (Site not responding. Last check: 2007-10-11)
		In 1966, when the going was rough in Rio de Janeiro, the post-coup outlook was gloomy and Glauber Rocha accepted an invitation to shoot in film the instatement of the Maranhão governor, the newly-elected José Sarney.
		All right, perhaps the images were a little hyped, a little sour, but the young governor accepted their "realism" as an affidavit of the "courage" of his real social talents.
		Glauber was an itinerant photographer of Sarney’s glory.
	www.socioambiental.org /website/parabolicas/english/backissu/49/frdotdoc.html (482 words)

	Cinema Novo - Wikipedia, the free encyclopedia
		Cinema Novo was a movement among Brazilian film makers in the second half of the 20th century, summarized by the phrase "Uma câmera na mão e uma idéia na cabeça" (which roughly translates to "A camera in the hand and an idea in the head").
		The movement included directors Glauber Rocha, Nelson Pereira dos Santos, and Joaquim Pedro de Andrade.
		Its main topics revolved around Brazilian poverty, mainly using the dry northeast and large cities as settings.
	en.wikipedia.org /wiki/Cinema_Novo (121 words)

	Latin American Video Archives (Site not responding. Last check: 2007-10-11)
		Gender relations are also revealed in the tenserelationship between Rosa and Manoel: she follows him on his mad journey, but not uncritically.
		Director Rocha added a uniquetwist to the film, one typical of the times and yet so revolutionary that he was exiled by the military regime later in the 1960s.
		Rather than depict Manoel as a poor victim, Rocha has the film gradually empower him, making him accountable for his actions and, ultimately, arguing that each person must carry his own burden.
	www.lavavideo.org /titles/detail.cfm?title_id=326 (419 words)

	Movie Database - tvguide.com (Site not responding. Last check: 2007-10-11)
		The leading spokesman of the cinema novo movement from Brazil, Glauber Rocha, created this film about a man trapped in the middle of unstable and dishonest politics.
		Filho is the writer, shot at the beginning of the picture, who traces the events that have lead to his present circumstance.
		Disillusioned with the direction of his country's politics, Filho attempts to retire to his writing but, upon the insistence of his girl friend, Glauce Rocha, is right back in the middle of the turmoil.
	online.tvguide.com /movies/database/showmovie.asp?MI=15619 (188 words)

	program.html
		We also take a look into "Novo Brazileiro" and "Revolutionary Cuban" cinema in "Rocha que Voa" where Glauber Rocha's son pays celluloid tribute to his father; and into the the surrealist film "La isla del tesoro" by Chilean filmmaker Raúl Ruiz.
		The producer, whose father died when he was only 3 years of age, rescues two interviews granted by his father (1971 and 1972), and uses them like a connecting link to his political and poetic outlook.
		Through the voices of Glauber and his Cuban counterparts' such as Director Tomás Gutierrez Alea we hear a dialogue for two currents in Latin American film: Novo Brazilian Cinema and the Cuban Revolutionary Cinema.
	www.videotecadelsur.org /AprJune2004.htm (1305 words)

	Interview with Sylvie Pierre
		Or still more modestly, by looking closely at the work of a brilliant director caught in the circumstances of the Soviet revolution, I was there to teach that you could take his work seriously enough to glean from it the pure and simple idea that cinema was something other than diversion and entertainment.
		And also that to have “an idea in your head and a camera in your hand,” according to Glauber Rocha's famous saying which has been used too often to summarise or caricature the Cinema Novo,”; required a real idea and a real camera, that it was not a recipe for pure cinematic improvisation.
		One day, Glauber's mother, at whose place I stayed for the first three months of this five-year stay, said to me “nao se engana a Deus” (“You cannot fool God”).
	www.sensesofcinema.com /contents/02/23/pierre.html (5923 words)

	Donald Richie Lucia Rocha
		Characterized as “one of the great troublemakers of modern cinema” by the late critic Serge Daney, filmmaker Glauber Rocha was the guiding spirit of the Brazilian Cinema Novo movement and its most prominent—and polemical—theorist and practictioner.
		Part folk epic, part political allegory, Antonio das Mortes—seen here in a newly restored print—is the story of a gunman hired by a feudal landlord to eliminate the leaders of a peasant rebellion and his transformation from hired assassin to rebel leader.
		We are honored to host a very rare appearance by Dona Lúcia Rocha, mother of Glauber Rocha and director of Tempo Glauber, the museum in Rio de Janeiro she founded to help preserve and foster awareness of her son’s work.
	www.harvardfilmarchive.org /calendars/01sepoct/closeencounters.html (526 words)

	Culture, Glauber Rocha Film Award Goes to "Machuca": Cuba News, Cuba Travel, cultural, business news.
		The Glauber Rocha Award, founded by PRENSA LATINA, and granted by the foreign press registered in Havana´s New Latin American Cinema Festival went to Chilean film Machuca, by Andres Wood.
		Founded 19 years ago to "boost the new Latin American cinema movement, which strongly burst during the 1960´s to propose a quest for a decolonized visual image", it is given for the first time to Chile.
		Machuca was unanimously voted for the Glauber Rocha for its plot dealing with the friendship between two children, truncated by a dramatic event in Latin America: the coup d"etat in Chile in 1973.
	www.cubaxp.com /modules/news/article.php?storyid=335 (680 words)

	Hollyman (1983) Glauber Rocha and the cinema nôvo: A study of his critical writings and films (Site not responding. Last check: 2007-10-11)
		Hollyman (1983) Glauber Rocha and the cinema nôvo: A study of his critical writings and films
		Glauber Rocha and the cinema nôvo: A study of his critical writings and films
		To view the the latter's ratings, click on Chapters/Papers/Articles in the STATISTICS box, select a publication from the list that appears, and then click on either Quality or Interest in that publication's STATISTICS box.
	www.getcited.org /?PUB=102150751&showStat=Ratings (95 words)

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