Suchergebnisse

Examining Brazilian and Argentine cinema of the last fifteen years, this volume charts the emergence of a new concern with the real, bringing together contributions from leading film scholars and critics from Latin America, Europe, and the United States. Comparing 'New Argentine Cinema" and the Brazilian 'Retomada, ' the contributors read across the boundaries between documentary and fiction and trace new modes of deploying performance and re-enactment, found footage, and the interplay between film and television and theater. They shed light on similarities between and variations in different Latin American national cinemas' filmic discourses and production contexts and map these findings onto the larger context of current film theory

The beginning of the so-called Nova República was inauspicious for both Brazil and Brazilian cinema. The events surrounding the illness and death of President-elect Tancredo Neves and the subsequent inauguration of former government-party leader José Sarney are well-known. Perhaps less known is the fact that one of the first pieces of legislation Sarney signed into law while Acting President during Neves's illness sent shock waves through the national film industry, which was already suffering one of the worst economic crises of its recent history.

The seminal study of race and Brazilian cinema is Robert Stam's "Tropical Multiculturalism". Since the publication of this groundbreaking book in 1997, there has been remarkably little effort by Brazilian film scholars or critics to deepen and build upon Stam's central claims or extend his analysis to the 21st century. In this article I hope to reverse this trend and invigorate more discussion and study of racial politics and Brazilian film. To this end, I detail the ways that Brazilian cinema continues to be complicit with white supremacy, highlight and analyze some of the most notable antiracist Brazilian films that have been produced in recent years, and underscore what is at stake for Brazilian society if cultural workers, such as filmmakers, do not reverse course and begin taking on racism in a much more intentional and sustained way.Keywords: Robert Stam. Multiculturalism. Brazilian cinema. Antiracism. ; The seminal study of race and Brazilian cinema is Robert Stam's "Tropical Multiculturalism". Since the publication of this groundbreaking book in 1997, there has been remarkably little effort by Brazilian film scholars or critics to deepen and build upon Stam's central claims or extend his analysis to the 21st century. In this article I hope to reverse this trend and invigorate more discussion and study of racial politics and Brazilian film. To this end, I detail the ways that Brazilian cinema continues to be complicit with white supremacy, highlight and analyze some of the most notable antiracist Brazilian films that have been produced in recent years, and underscore what is at stake for Brazilian society if cultural workers, such as filmmakers, do not reverse course and begin taking on racism in a much more intentional and sustained way.Keywords: Robert Stam. Multiculturalism. Brazilian cinema. Antiracism.

This paper traces the emergence of a younger generation of Brazilian filmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. One of the most prominent features in these recent works is a questioning of the status of the image, which vacillates between fiction and documentary without a point of resolution. This vacillation can be understood in terms of the performative nature of films like The Monsters, The Residents, The Earth Giveth, The Earth Taketh and Avenida Brasilia Formosa. Such films are centered around improvisations that open up the image to the real. Therefore, these films produce a space between fiction and documentary, between reality and artifice that is productive and politically charged. This proposal aims at discussing this "Brand New" Brazilian Cinema (Novísssimo Cinema Brasileiro) and the performative force of bodies in its affective realism. No longer a referent for a sociological truth about Brazilian society, realism is taken as something that the image does, i. e., as an affect that challenges the viewer's response-ability.

The aim of this brief overview is to investigate representations of the worker and the working class in Brazilian cinema. Three feature‐length fiction films in particular will emerge as key texts in this analysis: Luís Sérgio Person's São Paulo S.A. (1965), Leon Hirszman's They Don't Wear Black‐Tie (Eles Não Usam Black‐Tie, 1981), and Beto Brant's The Trespasser (O Invasor, 2001). These films provide useful paradigms for our analysis of possible ruptures and continuities in terms of a film production with a focus on work. Contemporary cinema will also be examined in order to discuss the role of the worker as a constant "intruder." As a whole, this study seeks to demonstrate that the worker, the working class, and labor issues have emerged as recurring motifs that lurk beneath a number of film narratives, even though in an oblique or collateral way.

ROBERT STAM: Durham and London: Duke University Press,1997.
Tropical Multiculturalism es una obra monumental que analiza meticulosamente desarrollos en la representación cinematográfica de los afro-brasileños, desde los principios del cine mudo hasta el presente. Dos aspectos novedosos se dan cita en este libro de Stam, prolífico autor de estudios donde lo estrictamente cinematográfico está siempre ligado en un amplio sentido a lo cultural. Por un lado, el estudio está enfocado en uno de los grupos que componen la mitológica "democracia racial" brasileña, permanentemente relegado a un plano subalterno por la segregación sólo parcialmente confesada. Por otro lado, propone una metodología comparativa muy adecuada a las prácticas deconstruccionistas actuales, pero problemática en las implicaciones políticas del par elegido como objeto