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This research focuses on the ideological construction of popular culture in Brazil in comedy films, musical or not, and cinema novo over the 1950-1975 period. It analyzes how these comedies (called chanchadas), which were influenced by the ideal of a varied but unique nation established by Getúlio Vargas represented the popular culture as an ideology of the subordinate classes. Using the concept of carnivalization, these popular films, influenced by radio, revue theater and circus, put the world upside down trying to correct social injustices suffered by the poor. Often criticized and considered as superficial and alienated, they were much more crítical than they were said to be at the time. Assuming that cinema novo is the corollary of the discussion on the identity quest for the Brazilian cinema that took place during the 1950s, a period heavily influenced by the Brazilian Communist Party, the research analyzes the three phases of the mo! vement. During the first one, popular culture was built as the people's opium and filmmakers used their own world as a model of representation for popular culture. The films, which were very self-reflexive, sought to arouse the crítical consciousness of the poor and help them pull out of alienation. During the second phase, which occurred after the military coup of 1964, filmmakers were immersed in the past in order to understand the mistakes of the left and the reasons for its defeat. During the third phase of the movement, led by a liberal government that perceived cinema as a commodity that should be sold to the market, filmmakers changed their way forward and made films directed to the general public. As such, the films of this phase, characterized by simpler forms, engaged in dialogue with the chanchadas to finally reach the people, while never giving up auteur cinema ; Ce travail porte sur la construction idéologique de la culture populaire dans les comédies brésiliennes, musicales ou pas, et dans le cinéma novo de la période 1950-1975.Il analyse la façon dont ces ...

This research focuses on the ideological construction of popular culture in Brazil in comedy films, musical or not, and cinema novo over the 1950-1975 period. It analyzes how these comedies (called chanchadas), which were influenced by the ideal of a varied but unique nation established by Getúlio Vargas represented the popular culture as an ideology of the subordinate classes. Using the concept of carnivalization, these popular films, influenced by radio, revue theater and circus, put the world upside down trying to correct social injustices suffered by the poor. Often criticized and considered as superficial and alienated, they were much more crítical than they were said to be at the time. Assuming that cinema novo is the corollary of the discussion on the identity quest for the Brazilian cinema that took place during the 1950s, a period heavily influenced by the Brazilian Communist Party, the research analyzes the three phases of the mo! vement. During the first one, popular culture was built as the people's opium and filmmakers used their own world as a model of representation for popular culture. The films, which were very self-reflexive, sought to arouse the crítical consciousness of the poor and help them pull out of alienation. During the second phase, which occurred after the military coup of 1964, filmmakers were immersed in the past in order to understand the mistakes of the left and the reasons for its defeat. During the third phase of the movement, led by a liberal government that perceived cinema as a commodity that should be sold to the market, filmmakers changed their way forward and made films directed to the general public. As such, the films of this phase, characterized by simpler forms, engaged in dialogue with the chanchadas to finally reach the people, while never giving up auteur cinema ; Ce travail porte sur la construction idéologique de la culture populaire dans les comédies brésiliennes, musicales ou pas, et dans le cinéma novo de la période 1950-1975.Il analyse la façon dont ces ...

This research focuses on the ideological construction of popular culture in Brazil in comedy films, musical or not, and cinema novo over the 1950-1975 period. It analyzes how these comedies (called chanchadas), which were influenced by the ideal of a varied but unique nation established by Getúlio Vargas represented the popular culture as an ideology of the subordinate classes. Using the concept of carnivalization, these popular films, influenced by radio, revue theater and circus, put the world upside down trying to correct social injustices suffered by the poor. Often criticized and considered as superficial and alienated, they were much more crítical than they were said to be at the time. Assuming that cinema novo is the corollary of the discussion on the identity quest for the Brazilian cinema that took place during the 1950s, a period heavily influenced by the Brazilian Communist Party, the research analyzes the three phases of the mo! vement. During the first one, popular culture was built as the people's opium and filmmakers used their own world as a model of representation for popular culture. The films, which were very self-reflexive, sought to arouse the crítical consciousness of the poor and help them pull out of alienation. During the second phase, which occurred after the military coup of 1964, filmmakers were immersed in the past in order to understand the mistakes of the left and the reasons for its defeat. During the third phase of the movement, led by a liberal government that perceived cinema as a commodity that should be sold to the market, filmmakers changed their way forward and made films directed to the general public. As such, the films of this phase, characterized by simpler forms, engaged in dialogue with the chanchadas to finally reach the people, while never giving up auteur cinema ; Ce travail porte sur la construction idéologique de la culture populaire dans les comédies brésiliennes, musicales ou pas, et dans le cinéma novo de la période 1950-1975.Il analyse la façon dont ces ...

ABSTRACT - The Sertão constitutes a «symbolic context» in Brazilian culture. It appears through multiple forms in all arts and has known unending transformations. And everything seems to indicate that it still lives in all sorts of imaginative representations.

Aus Anlaß des 11. Panafrikanischen Film-Festivals in Ouagadougou informiert der Bericht über die derzeitige Situation in der afrikanischen Film-Förderung. Das Film-Festival in Ouagadougou existiert seit 20 Jahren und war in diesem Jahr begleitet vom 4. Kongress der Panafrikanischen Cineasten. Ouagadougou hat sich zu einem Zentrum der Film-Industrie entwickelt. Zu beobachten ist sit 1985 ein Rückgang vor allem der interafrikanischen Filmförderung. Zum ersten Mal werden auf dem Festival Filme aus nicht-frankophonen Ländern vorgestellt. (DÜI-Gbh)

Le cinema africain rencontre beaucoup de difficultes à savoir le manque d'investissement et surtout l'inexistance de grandes structures de distribution. Le Fespaco qui est une manifestation culturelle par excellence donne l'occasion aux films africains de se promouvoir. Il distribue meme un prix mondialement connu: l'Etalon du Yennenga. (DÜI-Fof)

Jean Epstein places backwards time in the heart of the revolution of film. The cinema is the only experience that delivers time as a perception to us, and backwards time too. The purpose is to follow and continue Epstein's thought ; we elaborate a redefinition of the proper time of cinema intimately linked to the concept of backwards time in its various meanings : i.e. from the film backwards time to the narrative retrotemporality towards the thought time. We help us with famous classical texts, films and experimental video analysis, music, litterary examples. The theorical anchorage points are : the backwards time myth in Plato's Politic, Vladimir Jankélévitch's conception of irreversible time, Jean-Louis Schefer's theorical-poetical works, GillesDeleuze Aiôn's notion, and Jacques Lacan's psychoanalytical studies. We first consider the cinema as a counter-time that can not be detached from philosophical, aesthetical, moral, and political reversal. Examining Plato's theory we then explore the different forms of retrieving the Past, from the narrative retrotemporality to the time travels. Then we analyse the without causes pictures with the comical, onirical aberrations, the contrary times unity, the temporal inversion which spatialises. At last, the cinema's backwards time not only shows us that thinking is regressing in time, but concerns the hard mystery of an inverse thought. The reversibility of the intellectual act is the ultimate threshold where the ideas appear, without a wrong or a right side. ; Jean Epstein place l'inversion temporelle au cœur de la révolution cinématographique. Le cinéma est la seule expérience qui nous donne non seulement le temps mais aussi l'inversion temporelle comme une perception. Il s'agit de reprendre et de continuer la pensée de Epstein par une redéfinition du temps propre au cinéma à partir de la notion d'inversion temporelle conçue de la façon la plus transversale : de l'inversion pelliculaire à la rétrotemporalité narrative, au temps de la pensée. On convoque la relecture ...

Jean Epstein places backwards time in the heart of the revolution of film. The cinema is the only experience that delivers time as a perception to us, and backwards time too. The purpose is to follow and continue Epstein's thought ; we elaborate a redefinition of the proper time of cinema intimately linked to the concept of backwards time in its various meanings : i.e. from the film backwards time to the narrative retrotemporality towards the thought time. We help us with famous classical texts, films and experimental video analysis, music, litterary examples. The theorical anchorage points are : the backwards time myth in Plato's Politic, Vladimir Jankélévitch's conception of irreversible time, Jean-Louis Schefer's theorical-poetical works, GillesDeleuze Aiôn's notion, and Jacques Lacan's psychoanalytical studies. We first consider the cinema as a counter-time that can not be detached from philosophical, aesthetical, moral, and political reversal. Examining Plato's theory we then explore the different forms of retrieving the Past, from the narrative retrotemporality to the time travels. Then we analyse the without causes pictures with the comical, onirical aberrations, the contrary times unity, the temporal inversion which spatialises. At last, the cinema's backwards time not only shows us that thinking is regressing in time, but concerns the hard mystery of an inverse thought. The reversibility of the intellectual act is the ultimate threshold where the ideas appear, without a wrong or a right side. ; Jean Epstein place l'inversion temporelle au cœur de la révolution cinématographique. Le cinéma est la seule expérience qui nous donne non seulement le temps mais aussi l'inversion temporelle comme une perception. Il s'agit de reprendre et de continuer la pensée de Epstein par une redéfinition du temps propre au cinéma à partir de la notion d'inversion temporelle conçue de la façon la plus transversale : de l'inversion pelliculaire à la rétrotemporalité narrative, au temps de la pensée. On convoque la relecture ...