Brazilian Cinema Research Articles

Bacurau

When released in theatres, Bacurau sparked a massive controversy due to its graphic depiction of violence and its alleged connection to Brazil’s socio-political climate, marked in recent years by profound political polarisation and cultural wars. This article explores an often-overlooked aspect of the film: the use of humour and its articulation with horror and science fiction imaginations. Our argument is that humour plays a key role in Bacurau, establishing connections between speculative fiction and historical reality, which underpins the film’s political work. We look at the significant attention that the interactions between humour, horror, and science fiction have received in Brazilian cinema produced over the last decade, and we conduct a detailed analysis of the use of humour in Bacurau, one of the most prominent films produced in the country during this period. We seek to understand how the interweaving of humour and speculative fiction is employed in the film, and if it is used to address controversial issues such as identity politics, racism, regionalism, and colonial legacies. We also investigate the extent to which this unconventional combination serves as a strategic tool for engaging with Brazil’s contemporary landscape of social and political unrest.

Brazilian cinema, politics and communication circuits

O presente estudo objetiva analisar de que forma os filmes Bacurau, Marighella e Medida Provisória foram noticiados pela imprensa, transbordando da tela do cinema para circuitos comunicacionais. Com base na análise de conteúdo e um corpus de 485 notícias, atentamos às variáveis entrevista, divulgação, participação em festivais/premiações, elenco e questões políticas. Como resultado, observamos destaques à divulgação, bem como um crescimento de associações políticas à medida em que o governo Bolsonaro findava. Sintoma da adversidade de produzir e veicular arte em meio a uma gestão hostil à produção cultural.

POLITICIDADES ESTÉTICAS: O CINEMA DISTÓPICO NO BRASIL DA ASCENSÃO EVANGÉLICA

Assuming the cinema as a field of symptoms, this study aims to investigate and analyze how the intersection between 'politics' and 'religion' is presented through a dystopian aesthetic adopted in the following Brazilian films: Branco Sai, Preto Fica, directed by Adirley Queirós, released in 2015 after Dilma Rousseff's troubled presidential re-election in 2014; and Divino Amor, released by Gabriel Mascaro in 2019, the year in which Jair Bolsonaro assumed the presidency of the country. Thus, starting from the premises of French semiotics, it is observed how the reffered aesthetic strategies in the films establish communicational links that provide the audience the opportunity to recognize a specific Brazil on the cinema screen.

Towards a “semantics of power”: A case of resistance and recognition in contemporary Brazilian film

Towards a “semantics of power”: A case of resistance and recognition in contemporary Brazilian film

Do American Critic Reviews Affect Film Consumption Abroad? The Brazilian Case

The Brazilian film market consists mainly of American films; most of these films are released after their release in the United States, while a few are released before or simultaneously. The recent rapid developments in information and communication technology (ICT) changed film-showing technology to a digital model, improving the possibility of simultaneous worldwide releases. ICT evolution also allowed Brazilian moviegoers to access American critic reviews in real time. We explore this scenario to study whether American critic reviews influence film consumption at theaters in Brazil. We employ regression analysis using data from 1,600 films exhibited in the country between 2007 and 2018 collected from Box Office Mojo and Rotten Tomatoes websites. Controlling for endogeneity problems, we documented a prediction effect of expert reviews on gapped film releases but not an influence effect on simultaneous releases, which correspond to the wide film releases in the United States.

Film history, market and State in the work of Jean-Claude Bernardet

The article deals with Jean-Claude Bernardet's reflection on the history of relations between Brazilian production, the market and the State. The thought about Brazilian cinema and its insertion in the market has a long tradition that dates back to the 1920s. From the 1950s onwards, this was an important vein for the development of the first researches on the history of Brazilian cinema. It is in this tradition that Jean-Claude Bernardet's concerns were initially inscribed. However, from the interrogation of certain problems, mainly the ties between filmmakers and the State, Bernardet poses a series of questions in order to reinvent the tradition.

The Radical Power of Gentle Cinema

Film Quarterly contributing editor Manuel Betancourt’s experience serving on the jury for the Ibero-American program at the Palm Springs International Film Festival prompts him to consider how films labeled “small” or “quiet” don’t tend to win prizes and how this bias is gendered, reflecting the lack of value accorded to domestic, everyday life. Citing the recent ascendance of Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles to the top of Sight and Sound’s annual poll as a sign this bias may be weakening, he discusses a number of festival favorites—including the Venezuelan director Patricia Ortega’s MAMACRUZ and the Brazilian film Mars One—that elevate gentleness. In an era where big-screen spectacle depends on overstimulation, Betancourt argues for the wonder and joy to be found in a gentler, kinder cinema.

Trilogy of terror (1968): folk horror in the transition from rural to urban in Brazilian cinema

RESUMO Este trabalho tem por objetivo analisar e discutir o filme de horror brasileiro Trilogia de terror (1968), que reuniu três dos mais destacados diretores paulistas na época: José Mojica Marins, Ozualdo Candeias e Luís Sérgio Person. Para realizarmos nossa análise, articularemos os conceitos de folk horror (Scovel, 2017) a discussões específicas do cinema brasileiro, particularmente às tensões entre o rural e o urbano (Bernardet, 1980; Tolentino, 2001), para compreendermos aquilo que consideramos como um tensionamento entre tais instâncias em Trilogia de terror – observando-se a liminaridade dos espaços/gêneros cinematográficos, a mescla de referências religiosas, a alegoria política do Brasil e a passagem da ambientação rural para a urbana nos filmes brasileiros do gênero horror.

The process of color in modern Brazilian cinema: technical and aesthetic aspects

RESUMO A captação e processamento de imagens em movimento a partir de negativos coloridos no Brasil se desenvolve de forma expressiva no final dos anos 1960. Na ocasião, o cinema brasileiro moderno assiste a um embate entre cinemanovistas e diretores associados ao experimental. O confronto ganha um contorno peculiar no que diz respeito ao emprego da cor. Este trabalho pretende discutir algumas dimensões deste debate, tomando como base um corpo de filmes e cineastas aptos a externalizar uma proposta alinhada à arte tropicalista. Conclui-se que a cor poderá representar uma pauta complexa atrelada à ideia de industrialização.

City of Fury: Urban Violence, Dystopia and Anti-Utopia in Nuevo orden and Era Uma Vez Brasília

Abstract In the twenty-first century Latin America has become the most urbanized region on the planet and, at the same time, the one that has the highest level of inequality. This article discusses how this tension is expressed in cinema, an eminently urban art, through two case studies: the Mexican Nuevo orden (dir. by Michel Franco, 2020) and the Brazilian film Era uma vez Brasília (dir. by Adirley Queirós, 2017). Both works are independent films that deal with issues of urban violence and authoritarianism through a distinct style that combines the techniques of realist representation with fictional elements borrowed from dystopian and science fiction genres. While the two show a preoccupation with the economic and racialized inequality that characterizes urban space in the capital cities of Mexico and Brazil, they ultimately evoke two modes of utopian discourse. Whereas the first film can be considered anti-utopian, criticizing the impulse to seek social change, the second one, though pessimistic, retains a utopian call for political action.

Practising Inclusive Citation in Modern Languages Research: The View from Brazilian Film Studies

As Modern Languages researchers and teachers we pride ourselves on our ability to read (and view) material beyond the Anglo-American canon, and we make use of this ability to argue that we offer fresh perspectives on theory and practice within the broad range of sub-disciplines that our subject area encompasses. As Modern Languages researchers, inclusive citation should, then, be our bread and butter. But to what extent are we really contributing to “decolonised” knowledge creation? How much attention, for example, are we paying to calls to #CiteBlackWomen? Taking as a case study my recent explorations of race and gender in Brazilian cinema, I offer some reflections on the impact that citing more inclusively has made on my understanding of Brazilian culture more broadly.

Soccer as a National Pastime and its Role in the Lives of Traditional Communities in Cao Hamburger's Coming of Age Film: The Year my Parents Went on Vacation

The Journal of Popular CultureEarly View Original Article Soccer as a National Pastime and its Role in the Lives of Traditional Communities in Cao Hamburger's Coming of Age Film: The Year my Parents Went on Vacation Moshe Machlev, Corresponding Author Moshe Machlev [email protected] [email protected] Search for more papers by this author Moshe Machlev, Corresponding Author Moshe Machlev [email protected] [email protected] Search for more papers by this author First published: 22 June 2023 https://doi.org/10.1111/jpcu.13226Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Works Cited Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Verso, 2006. Avildsen, John. Rocky. 1976. Bonzel, Katharina. National Pastimes: Cinema, Sports, and Nation. U of Nebraska P, 2020. Capraro, André Mendes, and Pauline Peixoto Iglesias Vargas. “ Football, National Culture and Politics in Brazil in 1970: O Ano Em Que Meus Pais saíram de férias [The Year my Parents Went on Vacation].” Sport, Film and National Culture, edited by André Mendes Capraro, and Pauline Peixoto Iglesias Vargas, Routledge, 2020, pp. 195– 205. Chadha, Gurinder. Bend it Like Beckham. 2003. Crosson, Seán. “ European Cinema and the Football Film: ‘Play for the People Who've Accepted You’.” Football and Popular Culture, edited by Stephen R. Millar, Martin J. Power, Paul Widdop, Daniel Parnell, and James Carr, Routledge, 2021, pp. 87– 107. Dahlén, Peter. “ Sport and National Culture in Swedish Film.” Sport, Film and National Culture, Routledge, 2020, pp. 94– 111. Dos Santos, Suzy. “The Central Role of Broadcast Television in Brazil's Film Industry: The Economic, Political, and Social Implications of Global Markets and National Concentration.” International Journal of Communication, vol. 3 2009, pp. 695– 712. Glickman, Nora, and Ariana Huberman, editors. Evolving Images: Jewish Latin American Cinema. U of Texas P, 2017. Goldblatt, David. The Ball Is Round: A Global History of Football. Penguin UK, 2007. Haas, Astrid. “A Changing Game: Ethnicity, Gender, and Nation in the US American Soccer Film.” Comparative American Studies, vol. 12, no. 4, 2014, pp. 301– 15. Hamburger, Cao. Audio Commentary. The Year My Parents Went on Vacation. City Lights. DVD, 2008. Heise, Tatiana Signorelli. Remaking Brazil: Contested National Identities in Contemporary Brazilian Cinema. U of Wales P, 2012. Jewish Virtual Library. São Paulo, Brazil, <https://www.jewishvirtuallibrary.org/s-x00e3-o-paulo>. Johnson, Randal, and Robert Stam. Brazilian Cinema, Columbia UP, 1995. Levine, David, and Langley King. “Brazil.” Soccer Politics/The Politics of Football. 6 Nov. 2013, <https://sites.duke.edu/wcwp/research-projects/politics-and-sport-in-latin-america/brazil/>. Lindstrom, Naomi. “Turf Wars: Contested Space in Three Jewish Latin American Films.” Post Script, vol. 38, no. 2, 2019, pp. 45– 58. Nagib, Lúcia, editor. The New Brazilian Cinema. IB Tauris, 2003. Nagib, Lucia, and Samuel Paiva. “Passages-Travelling in and out of Film through Brazilian Geography.” Rumores, vol. 12, no. 24, 2019, pp. 19– 40. Rocha, Carolina, and Georgia Seminet. Representing History, Class, and Gender in Spain and Latin America: Children and Adolescents in Film. Springer, 2012. Scorsese, Martin, director. Raging Bull. Chartoff-Winkler, 1980. Snider, Colin. “ On this Date in Latin America – August 11, 1937: Brazil's National Student Union (UNE) Is Formed.” America South and North, 11 Aug. 2012, https://americasouthandnorth.wordpress.com/2012/08/11/on-this-date-in-latin-america-august-11-1937-brazils-national-student-union-une-is-formed/. Snider, Colin. “ Get to Know a Brazilian – Emílio Garrastazu.” America South and North, 3 Feb. 2013, https://americasouthandnorth.wordpress.com/2013/02/03/get-to-know-a-brazilian-emilio-garrastazu-medici/. Stam, Robert. “ Beyond Third Cinema: The Aesthetics of Hybridity.” Rethinking Third Cinema, edited by Anthony R. Guneratne and Wimal Dissanayake, Routledge, 2003. Early ViewOnline Version of Record before inclusion in an issue ReferencesRelatedInformation

“The Most Important Thing in This Business Is the Films”: Marc Ferrez&amp;Filhos, Exclusive Agent of Pathé Frères and Film Distribution Pioneer in Brazil (1907–1908)

This paper analyzes the first two years of operation of Marc Ferrez & Filhos (Marc Ferrez & Sons), a pioneer of film distribution in Brazil. As exclusive representative of French Pathé Frères in the country, the company oversaw the expansion of permanent movie theaters in Rio de Janeiro starting in 1907, created a national distribution network, and shaped the budding film market in Brazil. The paper shows that the increase in domestic film production after 1908, the so-called belle époque of Brazilian cinema, resulted from Marc Ferrez & Filhos' dominance in programming at the best movie theaters in the capital of Brazil using their own original and exclusive representation model.

Visions of paradise: how Brazilian cinema educated the United States about the racial issue in Brazil

The international image of Brazil was forged during the 20th century through cinema and music presented abroad. As the United States held a leading role in cinema and music production, the country had a great influence on public opinion around the world. Americans imported &nbsp;Carmen Miranda, during the World War II and in the post-War period, as an actress, singer and dancer that showed Brazil as an exotic place, with carnival rhythms and a happy and tolerant people. In 1959-1960, French cinema presented another vision of Brazil, based on the hills of Rio de Janeiro, with the film Black Orpheus. In this film, for the first time there is a focus on the Black population of a favela with a view to the Guanabara Bay, Where impoverished and happy Blacks sing and dance, while experience the joys and tragedy of love. It achieved enormous success among Americans, by showing Brazil as a place where economic inequality did not generate racial conflicts. The idea of ​​Racial Paradise presented in Carmen Miranda's films was reinvigorated in Orpheus. At the beginning of the millennium, the film Cidade de Deus contributed to the desmantle of the myth of racial tolerance and the happiness of Black Brazilians, in an extremely violent film that showed part of the reality of the favelas. The three films contributed, over sixty years, to projecting the image of Brazil and educating Americans about this distant land.

Religion and Cinema as Subversive Memories: A Possible Relationship in the Brazilian Context

Brazil has been defined as a country without memory. On the other hand, Brazilian cinematography is rich in dealing with the theme of memory. In this scenario, Brazilians gather weekly in religious services to celebrate the memory of the Easter of Christ in the Eucharist, to remember the deeds of God in time and space, and to celebrate the memory of the Gospel embodied in the culture and memory of the Brazilian people. This article intends, therefore, to establish a relation between the lack of critical and political memories and the memory present in the narratives of Brazilian films as spaces of resistance, and the religious and subversive memory in the Christian liturgy. The methodology adopted will be, firstly, descriptive and analytical, focusing on the facts of the Brazilian reality. Secondly, memory and liturgical memory will be treated in the liturgy, ascertaining the role of this paschal memory not only as an exercise of memory, but also as a subverting and political memory in the past, present, and future. Here, relations between liturgy and Brazilian cinema will be established.

Ancestralidade e identidade em Negrum3 - Uma pedagogia negra acerca de gênero e de sexualidade

Black Brazilian Cinema is a concept that affirms the presence and the black culture in cinema since the arrival of the first literate slaves in Brazil, at the same time that it questions the structure of cultural and knowledge production. In this article, we seek a pedagogical approach to black cinema. The objective is to work with the universe of meanings and discourses existing in the film NEGRUM3 (2018), by the filmmaker Diego Paulino. We consider that ancestry, converted into an analytical category, is a key concept to understand the discourse present in the analyzed film, in which it becomes evident the need to establish a dialogue with the African past, in an attempt to resignify the boundaries of gender and sexuality for Afrodiasporic populations in the present and in the future. In this sense, we analyze the film considering the concept of Pretagogia that values the body and the orality, as a producer of black epistemology and identity. We establish dialogues with black authors/authors and carry out an analysis that considers the film as an artistic work that grounds meanings in narrative structures by means of filmic, visual and sound apparatuses. Our article demarcates the pedagogical character of Brazilian Black Cinema and demonstrates how it can make paradigmatic changes through the way it portrays certain themes, making possible the reconstitution of black history and the establishment of a pedagogy of hope.

Twenty Queers of Madame Satã

FQ contributing editor Bruno Guaraná reviews the significance of the Brazilian director Karim Aïnouz’s groundbreaking Madame Satã on the occasion of the film’s 20th anniversary. Guaraná argues that Madame Satã was a film ahead of its time. While in dialogue with queer theory and queer cinema contemporaneous to it—placing it squarely within a global queer film canon—it also anticipated now-current notions of transgressive representations of nonbinary identities in Brazilian cinema. To think about Madame Satã in its original context thus means also recognizing the quantitative and qualitative leaps in media representation of queerness and blackness since its release.

Costs of Resource Redeployment Strategy under Learning Effects for Diversified Firms

Diversified firms may benefit from fungible resources because they can give firms flexibility to adapt to changing environmental conditions. However, the benefits of fungible resources could be limited by costs associated with their reallocation, and also by the opportunity costs of excess fungible resource capacity without a use. In this article, we use two types of learning mechanisms to identify the two different cost impacts on performance: learning by diversifying at the organization level and learning by resource usage at the level of a specific resource. Using data from the Brazilian film industry from 1995 to 2017, we find that the performance of diversified firms with non-scale-free fungible resources increases the higher level of learning by diversifying. Conversely, the higher the level of learning by resource usage, the lower the performance of diversified firms with these resources.

Erasing Territorial Sovereignty: Bacurau

A film review of the 2019 Brazilian film Bacurau.

Remapping Brazilian Film Culture in the Twenty-first Century, Stephanie Dennison (2019)

Review of: Remapping Brazilian Film Culture in the Twenty-first Century, Stephanie Dennison (2019) Abingdon and New York: Routledge, 220 pp., ISBN 978-1-13811-992-5, p/bk, £27.99