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Ten Reasons to Love Or Hate Mexican Cinema
Ten Reasons to Love or Hate phenomenon, the principal historian of Mexican Mexican Cinema silent cinema, Aurelio de los Reyes, writes without hesitation in 1977: This first Mexican cinema constituted Mexico's principal contribution to world cinema. As time Paulo Antonio Paranaguti went by, this cinema has become doubly important. Firstly, because it showed images of the Revolution that no literary practice could match. Secondly, because its faithfulness to the geographic and chronological sequence of events and its desire to record 'historical events' was a local vernacular form of presenting newsreels ... Allow me to use the first person to emphasise the particular importance of this volume. Although I am In face, during its initial nomadic phase, travelling Brazilian by birth, Mexican cinema interests me, noc camera operators carried the cinema all over Mexico . because of Latin American solidarity (which is all too These projectionist-operator s thus acquired ofcen reduced to a kind of sacrosanct rhetoric to important experience (decentralisation had not yet commemorate the dead) , buc for a series of reasons become fashionable). In 1910, on the eve of the lisced below that stir up the whole spectrum of armed insurrection against the dictatorship, emotions, ranging from delight to depression . production and exhibition were nationally controlled. The foreign presence was limited to a few I . Undoubtedly for the first time in Latin America, if distributors and to technological dependence . The not in the world, Mexico witnessed the birth of a film business enjoyed its first boom in 1906 with the contemporary political cinema directly Linked to major opening of the first real movie theatres. -
Silent Cinema
PART ONE Silent Cinema Schroeder - 9780520288638.indd 15 07/09/15 9:29 PM Schroeder - 9780520288638.indd 16 07/09/15 9:29 PM 1 Conventional Silent Cinema A CINEMA BY AND FOR CRIOLLOS Latin American silent cinema was a cinema by and for criollos. The term criollo comes from the Portuguese crioulo, which was first applied in the fifteenth century to Portuguese peoples born in Africa, and soon afterward to African slaves born in Brazil.1 In Spanish America, the earliest use of criollo kept its root meaning (from criar, which means “to raise”) but was applied first to Africans born in the Americas, and only afterward to Spaniards born there as well.2 By the seventeenth century, the term’s meaning in Spanish had narrowed to refer only to the descendants of Spaniards in the Americas, but after independence it broadened to refer to a Eurocentric understanding of national histories and identities. In effect, by the middle of the nineteenth century, criollo was widely used as a stand-in for national hegemonic cultures through- out Spanish America. In Brazil, on the other hand, crioulo devolved, among other things, into a racial slur for descendants of Africans, while the French term créole came to refer to the African-inflected cultures and languages that emerged throughout the Francophone Caribbean Basin.3 Given the confusion that can arise from the polysemy of criollo and its cognates, I will limit my use of the term to refer to Europeanized cultures throughout Latin America, including Brazil. Such use is widely accepted to this day in music, where criollo is applied to local variants of European forms popular throughout the nineteenth century, for 17 Schroeder - 9780520288638.indd 17 07/09/15 9:29 PM 18 | Silent Cinema example the Peruvian vals or the Puerto Rican danza. -
Cinema Comparat/Ive Cinema
CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.9 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Núria Bou (Universitat Pompeu Fabra) and Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri Tsivian (University of Chicago, United States), -
Cinema in Latin America
from The Oxford History of World Cinema, ed. Geoffrey Nowell-Smith, OUP, 1996; Section 2, Sound Cinema 1930-1960, pp.427-435 Cinema in Latin America Michael Chanan COLONIAL BEGINNINGS MOVING pictures first reached Latin America with representatives of the Lumière brothers, who sent out teams around the world on planned itineraries designed to sweep up on the fascination which the new invention created everywhere; two teams went to Latin America, one to Rio de Janeiro, Montevideo and Buenos Aires, the other to Mexico and Havana. The Lumière cinematograph served as both projector and camera and men like Gabriel Veyre, who arrived in Mexico in the middle of 1896 and Cuba the following January, were also briefed to bring back scenes from the countries they visited. Hard on their heels came the Biograph men from New York and other adventurers, both gringo and European. The North Americans tended not to penetrate very far south, where European immigration was at its height, and in Argentina and Brazil the pioneers were French and Belgian, Austrian and Italian. The earliest moving images of Latin America were thus mostly taken by European immigrants or residents, possessing both the minimum expertise needed to set up a film business and the contacts in the Old World to ensure a supply for films for exhibition. The varying dates of these first films 1896 in Mexico, 1897 in Cuba, Argentina and Venezuela, 1898 in Brazil and Uruguay, 1902 in Chile, 1905 in Colombia, 1906 in Bolivia, 1911 in Peru bespeak the progressive penetration of film across the continent, for they usually follow the dates of first exhibition fairly quickly. -
Brazilian History
Brazilian History Brazilian History: Culture, Society, Politics 1500- 2010 By Roberto Pinheiro Machado Brazilian History: Culture, Society, Politics 1500-2010 By Roberto Pinheiro Machado This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Roberto Pinheiro Machado All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0349-6 ISBN (13): 978-1-5275-0349-6 To Cláudia Mendonça Scheeren CONTENTS Introduction ................................................................................................. 1 Chapter One ................................................................................................. 9 The Colonial Period (1500–1822) 1.1 From the Discovery to the Colonization 1.2 The French Invasions (1555–1560 and 1594–1615) 1.3 The Dutch Invasions (1624–1625 and 1630–1654) 1.4 The Iberian Union and the Portuguese Territorial Expansion 1.5 The Discovery of Gold and the Minas Gerais 1.6 The Conspiracy of Minas Gerais and Brazilian Neoclassicism 1.7 The Conspiracy of Bahia and the Emergence of the Notion of Citizenship 1.8 A European Monarchy in the Tropics and the End of Colonial Rule Chapter Two .............................................................................................. 49 The Brazilian Empire (1822–1889) 2.1 The Costly Independence 2.2 The First Empire (1822–1831) 2.3 The Regency (1831–1840) 2.4 The Second Empire (1840–1889) 2.5 Culture and Society in the Brazilian Empire Chapter Three ......................................................................................... -
DISSERTAÇÃO Gabriel Medeiros Alves Pedrosa.Pdf
UNIVERSIDADE FEDERAL DE PERNAMBUCO CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS DEPARTAMENTO DE HISTÓRIA PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA GABRIEL MEDEIROS ALVES PEDROSA CINEMA, HISTORIOGRAFIA E USOS DO PASSADO: uma análise da representação da história e de questões étnico-raciais em Ganga Zumba (1964) e Quilombo (1984) RECIFE 2021 GABRIEL MEDEIROS ALVES PEDROSA CINEMA, HISTORIOGRAFIA E USOS DO PASSADO: uma análise da representação da história e de questões étnico-raciais em Ganga Zumba (1964) e Quilombo (1984) Dissertação apresentada ao Programa de Pós-Graduação em História da Univer- sidade Federal de Pernambuco, como re- quisito parcial para a obtenção do título de Mestre em História. Área de concentração: Sociedades, Cul- turas e Poderes Orientador: Professor Doutor Renato Pinto RECIFE 2021 Catalogação na fonte Bibliotecária Maria do Carmo de Paiva, CRB4-1291 P372c Pedrosa, Gabriel Medeiros Alves . Cinema, historiografia e usos do passado : uma análise da representação da história e de questões étnico-raciais em Ganga Zumba (1964) e Quilombo (1984) / Gabriel Medeiros Alves Pedrosa. – 2021. 292 f. : il. ; 30 cm. Orientador: Prof. Dr. Renato Pinto. Dissertação (Mestrado) - Universidade Federal de Pernambuco, CFCH. Programa de Pós-Graduação em História, Recife, 2021. Inclui referências e anexo. 1. Brasil - História. 2. Brasil – História – Palmares, 1630-1695. 3. Cinema e História. 4. Cinema brasileiro. 5. Historiografia. I. Pinto, Renato (Orientador). II. Título. 981 CDD (22. ed.) UFPE (BCFCH2021-030) GABRIEL MEDEIROS ALVES PEDROSA CINEMA, HISTORIOGRAFIA E USOS DO PASSADO: uma análise da represen- tação da história e de questões étnico-raciais em Ganga Zumba (1964) e Quilombo (1984) Dissertação apresentada ao Programa de Pós-Graduação em História da Univer- sidade Federal de Pernambuco, como re- quisito parcial para a obtenção do título de Mestre em História. -
Cannibal Logic: Latin America Under the Sign of an Other Thinking
CANNIBAL LOGIC: LATIN AMERICA UNDER THE SIGN OF AN OTHER THINKING Marco Alexandre de Oliveira A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2012 Approved by: Federico Luisetti Walter Mignolo Gregg Flaxman Monica Rector Juan Carlos González-Espitia © 2012 Marco Alexandre de Oliveira ALL RIGHTS RESERVED ii ABSTRACT MARCO ALEXANDRE DE OLIVEIRA: Cannibal Logic: Latin America Under the Sign of an Other Thinking (Under the co-direction of Federico Luisetti and Walter Mignolo) This dissertation presents the theory and practice of a cannibal logic as the sign of an other thinking in Latin America. Following the argument of an essay by the Brazilian poet and critic Haroldo de Campos, which discusses the relations between Latin American and European art and culture in terms of both “dialogue” and “difference,” it departs from the premise that a significant part of the imaginary of the Americas throughout the history of modernity as coloniality has been marked by the emblematic figure of the cannibal and the rhetorical trope of cannibalism as a discourse of otherness. As such, it explores the cannibalization of the cannibal and/or cannibalism in Brazilian modernismo and the formulation of a post-modernist “anthropophagic reason” by the “new barbarians” that would herald the emergence of an other (neo) avant-garde under development in Latin America. It thereby considers the evolution of both a “new poetry,” which would seek to deconstruct Eurocentrism, and a “new cinema,” which would aim to decolonize the Third World, as productions of a “new civilization” and as illustrations of a revolutionary (cultural) cannibalism that is ultimately contextualized in post-modern and post-colonial theory and criticism. -
The New Brazilian Cinema.Pdf
The New Brazilian Cinema The New Brazilian Cinema Edited by Lúcia Nagib in association with The Centre for Brazilian Studies, University of Oxford Published in 2003 by I.B. Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com in association with The Centre for Brazilian Studies, University of Oxford www.brazil.ox.ac.uk In the United States of America and Canada distributed by Palgrave Macmillan a division of St. Martin’s Press 175 Fifth Avenue, New York NY 10010 Copyright © The Centre for Brazilian Studies, University of Oxford, 2003 Copy editing: Neil Hancox and Stephen Shennan Translation: Tom Burns, Stephanie Dennison, Vladimir Freire, Lúcia Nagib, Lisa Shaw and Roderick Steel. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN 1 86064 928 9 paperback 1 86064 878 9 hardback A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Text prepared by the author as CRC Typeset in New Baskerville by Luciana Cury, São Paulo, Brazil Printed and bound in Great Britain by MPG Books Ltd, Bodmin Contents List of illustrations viii Notes on contributors xi Foreword xv Introduction xvii Acknowledgements xxvii -
Humberto Mauro, Octávio Gabus Mendes E Mário Peixoto Em Torno
Associação Nacional dos Programas de Pós-Graduação em Comunicação Humberto Mauro, Octávio Gabus Mendes e Mário Peixoto em torno de Ganga Bruta1 Sheila Schvarzman Introdução Embora tenha se consagrado como um dos grandes clássicos do cinema mudo brasileiro, Ganga Bruta (1933) teve sua realização tumultuada por 3 anos de trabalho e adiamentos, terminou por se beneficiar do contato do diretor Humberto Mauro com Octávio Gabus Mendes, autor do roteiro e diretor de Mulher (1931) realizado na Cinédia, o primeiro estúdio brasileiro com pretensões técnicas e industriais, onde aliás Ganga Bruta também foi filmado. O sensualismo, a precisão e a agilidade nos cortes e a ironia no tratamento dos personagens de Mulher influenciam o diretor mineiro, assim como alguns enquadramentos de Limite de Mário Peixoto, filme também realizado com o apoio de Adhemar Gonzaga, proprietário da Cinédia. Neste texto, gostaríamos de aprofundar a análise dos pontos de contato entre Mauro e os outros diretores, e o papel de Adhemar Gonzaga e da Cinédia nesse período fugaz (1930-1933), marcado pela transição do mudo ao sonoro no país, bem como de realizações marcantes do cinema brasileiro. O período que vai de 1929 a 1933 certamente pode ser caracterizado como de amadurecimento do cinema mudo brasileiro, ainda que, cronologicamente, se pudesse ver nessas datas atraso em relação ao cinema americano e europeu2onde o som já se impunha. 1 Este texto é parte da pesquisa de pós-doutoramento sobre Octávio Gabus Mendes financiada pela FAPESP 2 Mas não no caso do cinema latino-americano conforme Paranaguá, Paulo – O Cinema na América Associação Nacional dos Programas de Pós-Graduação em Comunicação Realização de filmes significativos, preocupação crítica e reflexiva e o surgimento de um estúdio em bases industriais contribuem decididamente para esse quadro. -
Ten Contemporary Views on Mário Peixoto's Limite
1 Ten contemporary views on Mário Peixoto‘s Limite Edited by Michael Korfmann Dedicated to Plínio Süssekind Rocha; without him Limite would no longer exist. in memoriam Dietrich Scheunemann 2 Contents Walter Salles: Some time Mário Michael Korfmann: Introduction Mário Peixoto: A film from South America 1 Walter Salles: Free Eyes in the Country of Repetition 2 Saulo Pereira de Mello: Man’s Fate 3 Carlos Augusto Calil: Mário Peixoto’s Revelation 4 William M. Drew: The counter cinema of Mário Peixoto: Limite in the context of world film 5 Alexander Graf: Space and the Materiality of Death – On Peixoto’s Limite 6 Paulo Venâncio Filho: Limite today 7 Constança Hertz: Cinema and poetry: Mário Peixoto and the Chaplin Club. 8 Aparecida do Carmo Frigeri Berchior: Image and movement in Mário Peixoto’s Creation 9 Marco Lucchesi: Mário Peixoto and the sea 10 Marcelo Noah: The modernist debut of Mário Peixoto Notes on the Contributors 3 Some times Mário Walter Salles I remember the first time I set eyes on Mário, in the little room in which he lived in Angra dos Reis. And I remember well the welcoming smile with which he greeted this newcomer. I also remember how he would talk for hours on end, although the hours seemed to slip by like minutes. I also realized that I would never again come across a storyteller such as him. I remember how he would pack up all his medicines in a plastic bag. I remember the first time he ever mentioned cinema and his admiration for German expressionism and Murnau and Lang, whose films he had seen with two Japanese friends, when they had sneaked out of a boarding-school in England.