Abstract
This chapter addresses the role of Brazilian popular music, specifically of certain generic samba forms, focusing on how their screen adaptations were inflected by a double process of cross-mediation. It demonstrates how cinema reconfigured Brazilian music via its intermedial connections with staged modes of production, representation and consumption, including radio auditoriums, casinos, nightclubs and other entertainment spaces, thereby incorporating audiences as part of the film’s diegesis. Brazilian cinema, radio and television are investigated in their many forms of interaction, from the moment synchronised sound was first introduced into Brazilian cinema until the late 1950s, when television gradually became the most popular form of audiovisual contact with audiences around the world. In focus is the period between the mid-1930s, with the arrival of sound, and the late 1950s, when the traditional chanchada genre started to face the competition of other Brazilian film genres.
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