José Saramago
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Brazilian Films and Press Conference Brunch
rTh e Museum of Modern Art No. 90 FOR REL.EIASE* M VVest 53 street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart ^ ^ , o -, . ro ^ Wednesday^ October 2, i960 MUSEUM OF MODERN ART INTRODUCES BRAZILIAN FILMS In honor of Brazil's new cinema movement called Cinema NovO; The Museum of Modern Art will present a ten-day program of features and shorts that reflect the recent changes and growth of the film industry in that country. Cinema Novo: Brasil. the New Cinema of Brazil, begins October 1. and continues through I October 17th. Nine feature-length films;, the work of eight young directors; who represent the New Wave of Brazil^ will be shown along with a selection of short subjects. Adrienne Mancia, Assistant Curator, Department of Film, assembled the program. In the past seven years, the Brazilians have earned i+0 international awards. In Berlin, Genoa and Moscow. Brazilian film retrospectives have been held in acknowledgement of the vigorous Cinema Novo that has taken root in that country. Cinema Novo of Brazil has had a stormy history. The first stirring began in the early 50*8 with the discontent of young filmmakers who objected to imitative Hollywood musical comedies, known as "chanchadas," which dominated traditional Brazilian cinema. This protest found a response araong young film critics who were inspired by Italian neo- realism and other foreign influences to demand a cinema indigenous to Brazil. A bandful of young directors were determined to discover a cinematic language that would reflect the nation's social and human problems. The leading exponent of Cinema Novo, Glauber Rocha, in his late twenties, stated the commitLment of Brazil's youthful cineastes when he wrote: "In our society everything is still I to be done: opening roads through the forest, populating the desert, educating the masses, harnessing the rivers. -
Foreign Land's Geography of Exclusion
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Central Archive at the University of Reading Back to the margins in search of the core: foreign land©s geography of exclusion Book or Report Section Published Version Nagib, L. (2013) Back to the margins in search of the core: foreign land©s geography of exclusion. In: Brandellero, S. (ed.) The Brazilian road movie: journeys of (self) discovery. Iberian and Latin American Studies. University of Wales Press, Cardiff, pp. 162-183. ISBN 9780708325988 Available at http://centaur.reading.ac.uk/32710/ It is advisable to refer to the publisher's version if you intend to cite from the work. Published version at: http://www.uwp.co.uk Publisher: University of Wales Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading's research outputs online Chapter Eight Back to the Margins in Search of the Core: Foreign Land ’s Geography of Exclusion 1 LÚCIA NAGIB ‘The Tagus is fairer than the river flowing through my village, But the Tagus isn’t fairer than the river flowing through my village Because the Tagus isn’t the river flowing through my village.’ Alberto Caeiro (Fernando Pessoa’s heteronym), ‘The Keeper of Flocks’2 ‘Lampião was great, but he often became small.’ Dadá, in Black God, White Devil 3 The crisis of the national project in the early 1990s, caused by a short-lived but disastrous government, led Brazilian art cinema, for the first time, to look at itself as periphery and reapproach the old colonial centre, Portugal. -
Brasil: Cine Mundial
CICLO DE CINE BRASILERO BRASIL: CINE MUNDIAL FESTIVAL DE CINE DE BOGOTA El Festival de Cine de Bogotá en alianza con la Embajada de Brasil y el Museo Nacional presenta ocho películas de Brasil todos los viernes de Febrero. PROGRAMACIÓN Auditorio Teresa Cuervo Borda MUSEO NACIONAL DE COLOMBIA Carrera 7 No. 28 – 33, Bogotá D.C Informes 381 64 91 www.bogocine.com www.facebook.com/cine.brasil [email protected] FILME DÍA HORA Caramuru - A Invenção do Brasil Viernes 7 3:00 pm Cidade de Deus Viernes 7 6:00 pm Domésticas Viernes 14 3:00 pm Madame Satã Viernes 14 6:00 pm Guerra dos canudos Viernes 21 3:00 pm Estorvo Viernes 21 6:00 pm Carandiru Viernes 28 3:00 pm Central do Brasi Viernes 28 6:00 pm Caramuru - A Invença o do Brasil 2001 Brasil 100 min Comedia. Fantástico. Romance El primero de enero de 1500 es descubierto un nuevo mundo por los europeos. Es en este contexto que vive en Portugal el joven Diogo, pintor que es contratado para ilustrar un mapa del nuevo territorio. Pero, engañado por la seductora Isabelle, acaba siendo deportado en una carabela que naufraga en el comienzo de la travesía. Diogo sobrevive de milagro, y consigue llegar al litoral brasileiro. Entonces conoce a la bella india Paraguaçu, con quien inicia un romance que se complica luego, cuando se incluye en él la india Moema, hermana de Paraguaçu. Director GuelArraes Guión GuelArraes, Jorge Furtado Fotografía Félix Monti Reparto Selton Mello, Camila Pitanga, Deborah Secco, Tonico Pereira, Débora Bloch, Luís Melo, Pedro Paulo Rangel, DiogoVilela Tráiler: http://www.youtube.com/watch?v=G80pFQw8v84 Ver online:http://www.youtube.com/watch?v=h0R5Af2BBiU Sin subtítulos. -
Introduction
Introduction Lisa Shaw and Tim Bergfelder The proliferating histories of screen stardom Stars and film industries centred on stars have been an important strand in the study and criticism of cinema. As early as the 1920s, theorists including Rudolf Arnheim, Béla Balázs, Siegfried Kracauer and Walter Benjamin discussed the significance of personae, images and iconic stars such as Charles Chaplin and Greta Garbo, and their integral function within the interconnecting aesthetic, social and affective systems that the new mass medium of cinema represented.1 Following the consolidation of Hollywood as an industry and as a popular art form in the 1930s and 1940s, the seemingly universal appeal of stars caught the atten- tion of, among others, anthropologists such as Hortense Powdermaker,2 sociolo- gists such as Edgar Morin3 and semioticians such as Roland Barthes.4 Within the nascent academic discipline of film studies in the 1970s, Richard Dyer’s ground- breaking book Stars (first published in 1979) mapped a field and methodology – or rather a set of methodologies – for the analysis of stars as a simultaneously aesthetic and social phenomenon of modern culture.5 Dyer’s text inaugurated a rich seam of scholarship that has gone from strength to strength in the last few decades and that shows no sign of abating today if the sheer number of publications is anything to go by.6 Nevertheless, while many of Dyer’s original observations and definitions still hold true today, there have been a number of developments in the field and in the actual cultural presence and social function of stars in the decades since the late 1970s that have taken star studies in new directions, with new priorities, new contexts and new parameters. -
Whelden, Schuyler Dunlap
UCLA UCLA Electronic Theses and Dissertations Title The Political Voice: Opinião and the Musical Counterpublic in Authoritarian Brazil Permalink https://escholarship.org/uc/item/22t2k3p3 Author Whelden, Schuyler Dunlap Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles The Political Voice: Opinião and the Musical Counterpublic in Authoritarian Brazil A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Schuyler Dunlap Whelden 2019 © Copyright by Schuyler Dunlap Whelden 2019 ABSTRACT OF THE DISSERTATION The Political Voice: Opinião and the Musical Counterpublic in Authoritarian Brazil by Schuyler Dunlap Whelden Doctor of Philosophy in Musicology University of California, Los Angeles, 2019 Professor Tamara Judith-Marie Levitz, Co-Chair Professor Timothy D. Taylor, Co-Chair This dissertation investigates how music making shapes political participation during periods of democratic crisis and authoritarianism. It examines the musical theater production Opinião, which was staged nightly in Rio de Janeiro from December 1964 to April 1965 at the onset of the Brazilian military dictatorship. Rather than examining Opinião as the reflection of its director’s or authors’ politics, I take an intersectional approach that focuses on the performers and audience members, who came from different gender, racial, geographic, and class backgrounds. Through an analysis of the show’s performances, I demonstrate how people from diverse populations enacted political protest. I put their diverse strategies for intervening in the Rio de Janeiro public sphere into dialogue with one another to demonstrate how authoritarian regimes impact different ii sectors of society. -
A Fase Utópico-Patriótica Da Poesia Angolana (1965-1985)
CORE Metadata, citation and similar papers at core.ac.uk Provided by Repositório Institucional da Universidade de Aveiro Universidade de Aveiro Departamento de Línguas e Ano 2014 Culturas SILVIA A FASE UTÓPICO-PATRIÓTICA DA POESIA BRUNETTA ANGOLANA (1965-1985) Universidade de Aveiro Departamento de Línguas e Ano 2014 Culturas SILVIA A FASE UTÓPICO-PATRIÓTICA DA POESIA BRUNETTA ANGOLANA (1965-1985) Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Literatura, realizada sob a orientação científica da Doutora Isabel Cristina Saraiva de Assunção Rodrigues Salak, Professora Auxiliar do Departamento de Línguas e Culturas da Universidade de Aveiro, e coorientada pelo Doutor José Luís Pires Laranjeira, Professor Associado da Faculdade de Letras da Universidade de Coimbra. Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio. 2 ao meu filho David aos meus pais e ao meu irmão à minha avó 3 o júri presidente Prof. Doutor Vitor José Babau Torres professor catedrático da Universidade de Aveiro Prof.ª Doutora Ana Mafalda de Morais Leite professora associada com agregação da Faculdade de Letras da Universidade de Lisboa Prof. Doutor Francisco José de Jesus Topa professor associado da Faculdade de Letras da Universidade do Porto Prof.ª Doutora Maria do Rosário da Cunha Duarte professora auxiliar da Universidade Aberta Prof.ª Doutora Ana Margarida Corujo Ferreira Lima Ramos professora auxiliar da Universidade de Aveiro Prof.ª Doutora Isabel Cristina Saraiva de Assunção Rodrigues Salak professora auxiliar da Universidade de Aveiro 4 agradecimentos Considerando que a elaboração desta dissertação correspondeu a um longo percurso durante o qual aprofundei, não apenas os meus conhecimentos científicos, mas também aquilo que me é mais íntimo, cumpre-me agradecer às pessoas que me acompanharam ao longo desta viagem. -
Ditadura, Arte E Boêmia Através Do Filme Garota De Ipanema
HISTÓRIA, COTIDIANO E MEMÓRIA SOCIAL – a vida comum sob as ditaduras no século XX http://dx.doi.org/10.15448/1980-864X.2017.2.24749 Entre a política e o prazer: ditadura, arte e boêmia através do filme Garota de Ipanema (Leon Hirszman, 1967) Between politics and pleasure: dictatorship, art and bohemia throughout Leon Hirszman’s Garota de Ipanema (1967) Entre la política y el placer: dictadura, arte y bohemia a través del film Garota de Ipanema (Leon Hirszman, 1967) Carlos Eduardo Pinto de Pinto* Resumo: O artigo aborda, através da análise do filme Garota de Ipanema (Leon Hirszman, 1967) e de seu circuito social, as tensões entre política e prazer no cotidiano do Rio de Janeiro durante a ditadura militar. A releitura de uma canção da Bossa Nova através de um filme que pretendia acompanhar o cotidiano de uma menina de classe média em Ipanema é esperada como um rompimento com os pressupostos do cinema político seguidos até então por seu diretor, um dos expoentes do Cinema Novo brasileiro. Afinal, tanto a Bossa quanto Ipanema eram consideradas metonímias de uma boêmia despolitizada que não se conectava, aparentemente, com a proposta de intervenção da arte na sociedade, seguida pelos cinemanovistas. Ironicamente, o filme decepcionou a crítica, justamente por não ser um bom entretenimento, se propondo a compreender a inserção da protagonista no mundo, inclusive sua relação com a política sob uma ditadura. Desse modo, a análise possibilita pensar as conexões entre ditadura, arte e boêmia no filme e através dele. Palavras-chave: Cinema; Ditadura militar brasileira; Política; Cinema Novo; Bossa Nova. -
Introducción Al Cine Latinoamericano
Introducción al cine latinoamericano Paper-16|| Module-08 Historia del cine latinoamericano VIII: El cine de Brasil. Parte 2 Content writer Dr. Carlos Izquierdo Tobías Former Visiting Faculty JMI, Central University New Delhi Language reviewer Dr. Murad Khan Aligarh Muslim University Content reviewer Prof. Minni Sawhney, University of Delhi Módulo 8. Historia del cine latinoamericano VIII: El cine de Brasil. Parte 2 CONTENIDOS 1. Objetivos 2. Introducción 3. Otras películas relevantes de los últimos años de la dictadura 4. El cine brasileño de los ochenta 5. Tres directoras de cine brasileñas en los ochenta 6. Las dificultades de los noventa y la retomada (1995-2003) 7. Pós-retomada: un nuevo siglo para el cine brasileño 8. Conclusiones Brasil 1. Objetivos Los objetivos principales de este módulo son: - introducir al alumno a los eventos, figuras y obras cinematográficas más relevantes del cine brasileño desde los años setenta hasta nuestros días. - continuar presentando al alumno el cine brasileño de los últimos años de la dictadura. - destacar a los realizadores y obras más relevantes de los años ochenta en Brasil. - introducir al alumno a la obra de las directoras de cine brasileñas Ana Carolina, Tizuka Yamasaki y Suzana Amaral. - presentar al alumno el cine de Brasil de los noventa y la así llamada retomada. - resaltar los eventos, figuras y obras cinematográficas más relevantes del cine brasileño de los últimos años. 2. Introducción En este módulo continuamos el anterior sobre el cine de Brasil. El presente módulo retoma la historia del cine de este país en los últimos años de la dictadura y ofrece un recorrido hasta nuestros días por algunos de los eventos, figuras y obras cinematográficas más relevantes. -
De Ruy Guerra E Nelson Xavier
MENU YOU ARE HERE: / HOME (/) / ARCHIVE (/INDEX.PHP/30-ARCHIVE) / LFU/30 (/INDEX.PHP/63-ARCHIVE/LFU-30) / REINALDO CARDENUTO / AS CAMADAS DO DESPENCAR NO FILME "A QUEDA", DE RUY GUERRA E NELSON XAVIER REINALDO CARDENUTO / As camadas do despencar no filme "A queda", de Ruy Guerra e Nelson Xavier Em tempos turvos de caos cruento E desordem por decreto E abuso previsto E humanidade desfigurada (...) Descemos aos matadouros A que se parece o mundo (fragmento de A Santa Joana dos Matadouros, peça de Bertolt Brecht) No plano de abertura do filme A queda, longa-metragem realizado por Ruy Guerra e Nelson Xavier no ano de 1976, um edifício enquadrado em contra-plongée, com o azul do céu ao fundo, é demolido por cargas de dinamite. Enquanto a câmera recua em zoom, revelando o entorno da cidade a rodear o imóvel comprometido, a violenta implosão racha diversos pontos do prédio, fazendo-o vir abaixo ao som de um estrondo que rompe o silêncio e reverbera durante vários segundos no interior da imagem. Junto com a audição de algumas notas musicais, executadas por um instrumento de cordas, os detritos da edificação levantam uma grande camada de poeira que aos poucos vai cobrindo não apenas a paisagem local, mas inclusive a própria tela cinematográfica. Ao término do plano, todas as referências visuais à geografia urbana desaparecem, restando apenas uma obstrução marrom causada pelos excessos do pó e da sujeira. A partir dessa alegoria de forte impacto, alusão ruidosa ao que há de destrutivo no homem, introduz-se o mundo deletério em que acontecerá a narrativa do filme A queda. -
Da Experiência Do Cinema Novo Ao Novo Cinema
DA EXPERIÊNCIA DO CINEMA NOVO AO NOVO CINEMA BRASILEIRO DO 165 SÉCULO XXI: UMA ABORDAGEM SOCIOLÓGICA E POLÍTICA DO FILME BACURAU Revista dos alunos do Programa de Pós-Graduação em Antropologia Social da UFAM DOI: 10.29327/217579.5.1-12 DA EXPERIÊNCIA DO CINEMA NOVO AO NOVO CINEMA BRASILEIRO DO SÉCULO XXI: UMA ABORDAGEM SOCIOLÓGICA E POLÍTICA DO FILME BACURAU From the experience of the New Cinema to the New Brazilian Cinema of the 21st century: a sociological and political approach of the Bacurau movie José de Lima Soares101 Resumo: O artigo se propõe a fazer uma análise do surgimento do Cinema Novo na contextualidade do quadro históri- co-político marcado pelo populismo do final dos anos de 1950 e começo de 1960, passando pelo golpe civil-mi- litar de 1964 e o desdobramento da ditadura militar que se prolongou por 21 anos. A ideia é demonstrar que o surgimento do Cinema Novo significou um avanço para além dos limites do cinema da época, mostrando a re- alidade social e política especialmente a partir de importantes nomes como Nelson Pereira dos Santos, Glauber Rocha, Joaquim Pedro de Andrade, Luiz Sérgio Person, Eduardo Coutinho, Roberto Santos, Ruy Guerra, Cacá Diegues, Leon Hirszhman, entre tantos outros. Dessa experiência surge uma nova linguagem que no cinema abre caminho para uma produção cinematográfica inovadora e uma interpretação crítica da realidade social e política brasileira. É um momento histórico que se caracteriza por um vasto painel que emerge como um ver- dadeiro caleidoscópio cultural e político, que inicia-se com o fim da ditadura estadonovista de Getúlio Vargas, passando pelo populismo com a política de Juscelino Kubitschek, Jânio Quadros e João Goulart, e chegando à derrocada das propostas populistas com o golpe civil-militar, que derrubou o governo de Jango. -
Embassy of Brazil in Canberra – DVD Collection
Embassy of Brazil in Canberra – DVD Collection July, 2014 Portuguese Intern. English Year Title Duration Director Synopsis No. Title The story of the first football World title at the 1958 World Cup in Sweden told by the protagonists themselves, where Brazil won an 1958 - O 1958 - The impressive 5-2 against Sweden. Members of the teams from the Ano em que Year the different countries that faced Brazil participate in the movie, *1 o Mundo World 2008 85’ José Carlos Asberg providing a first-hand and explicit opinion about the performance of descobriu o discovered the 1958 Brazilian team and showing the respect they have gained Brasil Brazil internationally. The film pays homage to the legendary team, composed of Pelé, Garrincha and Didi, that led the nation to this victory. The story of Francisco, a simple, poor tenant farmer in the hinterlands of Goiás, who pursues what appears to be an impossible dream – to transform two of his nine children into a 2 Filhos de Two Sons of *2 2005 129’ Breno Silveiro Francisco Francisco famous country music duo. With the manic and almost unnerving determination of their father, the two brothers are propelled to success from a position initially very far from stardom. Though their father is not the first father figure to have pressured his 1 Portuguese Intern. English Year Title Duration Director Synopsis No. Title children into becoming entertainers, few have had to embark upon such an arduous journey and overcome such a daunting tragedy. 2 Filhos De Francisco adopts a unique cinematic approach which casts a sweet spell upon its audience, breaking away from traditional ‘made-for-television’ portrayals of similar stories. -
Foreign Land's Geography of Exclusion
Back to the margins in search of the core: foreign land's geography of exclusion Book or Report Section Published Version Nagib, L. (2013) Back to the margins in search of the core: foreign land's geography of exclusion. In: Brandellero, S. (ed.) The Brazilian road movie: journeys of (self) discovery. Iberian and Latin American Studies. University of Wales Press, Cardiff, pp. 162-183. ISBN 9780708325988 Available at http://centaur.reading.ac.uk/32710/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.uwp.co.uk Publisher: University of Wales Press All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Chapter Eight Back to the Margins in Search of the Core: Foreign Land ’s Geography of Exclusion 1 LÚCIA NAGIB ‘The Tagus is fairer than the river flowing through my village, But the Tagus isn’t fairer than the river flowing through my village Because the Tagus isn’t the river flowing through my village.’ Alberto Caeiro (Fernando Pessoa’s heteronym), ‘The Keeper of Flocks’2 ‘Lampião was great, but he often became small.’ Dadá, in Black God, White Devil 3 The crisis of the national project in the early 1990s, caused by a short-lived but disastrous government, led Brazilian art cinema, for the first time, to look at itself as periphery and reapproach the old colonial centre, Portugal.