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Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
Lista De Filmes Brasileiros Disponíveis Para Empréstimo Embaixada Do Brasil Em Adis Abeba Bole Sub-City, Kebele 02, House Nr
Lista de Filmes Brasileiros disponíveis para Empréstimo Embaixada do Brasil em Adis Abeba Bole Sub-City, Kebele 02, House Nr. 2830 Tel: +251(0)116-620-401 E-mail: [email protected] 1. “2 Filhos de Francisco” (drama/biográfico), de Brenno Silveira (2005) 2. “2 perdidos numa noite suja” (drama), de Braz Chediak (2002) 3. “Abril despedaçado” (drama), de Walter Salles (2001) 4. “Anahy de las misiones” (ficção histórica), de Sergio Silva (2000) 5. “Bossa Nova” (comédia/romance), de Bruno Barreto (1999) 6. “Brava Gente Brasileira” (drama),de Lucia Murat (2000) 7. “Cabra-cega” (drama), de Toni Venturi (2006) 8. “Caramuru, a invenção do Brasil” (comédia), de Guel Arraes (2003) 9. “Carandiru” (drama), de Hector Babenco (2003) 10. “Central do Brasil” (drama), de Walter Salles (1998) 11. “Cidade baixa” (drama), de Sergio Machado (2005) 12. “Cidade de Deus“ (ação/drama) , de Fernando Meirelles (2002) 2DVD 13. “Dias de Nietzsche em Turim” (drama biográfico), de Julio Bressane (2004) 14. “Domésticas, o filme” (comédia), de Fernando Meirelles (2001) 15. “Durval Discos” (comédia), de Anna Muylaert (2002) 16. “Ed Mort” (comédia), de Alain Fresnot (2005) 17. “Edifício Master” (documentário), de Eduardo Coutinho (2002) 18. “Entreatos” (documentário), de João Moreira Salles (2006) 19. “Estorvo” (drama), de Ruy Guerra (2001) 20. “Fala tu” (documentário), de Guilherme Coelho (2003) 21. “Filme de Amor” (drama), de Julio Bressane (2003) 22. “Canudos” (drama), de Sergio Rezende (2005) 23. “Iracema, Uma Transa Amazônica” (drama), de J. Bodanzky e Orlando Senna (2005) 24. “Justiça” (documentário), de Maria Augusta Ramos (2004) 25. “Lamarca” (drama biográfico), de Sergio Rezende (2005) 26. -
Baixar E-Book
Eduardo Dias Fonseca e Fábio Allan Mendes Ramalho (Organizadores) Foz do Iguaçu, Paraná, Brasil 2020 © 2020 EDUNILA – Editora Universitária Catalogado na Publicação (CIP) T772 Trânsitos e subjetividades latino-americanas no cinema/ Eduardo Dias Fonseca (Org.); Fábio Allan Mendes Ramalho (Org.). Foz do Iguaçu: EDUNILA, 2020. 189 p.: il. ISBN: 978-65-86342-02-4 1. Cinema. 2. América Latina. 3. Cultura Latino-Americana. Socie- dade Latino-Americana I. Fonseca, Eduardo Dias. II. Ramalho, Fábio Allan Mendes. II. Título. CDU 791.43(7/8=6) Catalogação na fonte: Bibliotecário Leonel Gandi dos Santos CRB 11/753 Todos os direitos reservados e protegidos pela Lei nº 9.610, de 19 de fevereiro de 1998. É proibida a reprodução total ou parcial por quaisquer meios sem autorização prévia, por escrito, da editora. Direitos adquiridos pela EDUNILA – Editora Universitária. EDUNILA – Editora Universitária Av. Tancredo Neves, 6731 – Bloco 4 Caixa Postal 2044 Foz do Iguaçu – PR – Brasil Editora associada à CEP 85867-970 Fones: +55 (45) 3529-2749 | 3529-2770 | 3529-2788 [email protected] www.unila.edu.br/editora UNIVERSIDADE FEDERAL DA INTEGRAÇÃO LATINO-AMERICANA Gleisson Pereira de Brito Reitor Luis Evelio Garcia Acevedo Vice-reitor EDUNILA – EDITORA UNIVERSITÁRIA Mario René Rodríguez Torres Coordenador-geral Edson Carlos Thomas Administrador Francieli Padilha B. Costa Programadora visual Leonel Gandi dos Santos Bibliotecário-documentalista Natalia de Almeida Velozo Revisora de textos Nelson Figueira Sobrinho Editor de publicações Ricardo Fernando da Silva -
Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
<half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK. -
Spanish Videos Use the Find Function to Search This List
Spanish Videos Use the Find function to search this list Velázquez: The Nobleman of Painting 60 minutes, English. A compelling study of the Spanish artist and his relationship with King Philip IV, a patron of the arts who served as Velazquez’ sponsor. LLC Library – Call Number: SP 070 CALL NO. SP 070 Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness. LLC Library CALL NO. Look in German All About My Mother Director: Pedro Almodovar with Cecilia Roth, Penélope Cruz, Marisa Perdes, Candela Peña, Antonia San Juan. 1999, 102 minutes, Spanish with English subtitles. Pedro Almodovar delivers his finest film yet, a poignant masterpiece of unconditional love, survival and redemption. Manuela is the perfect mother. A hard-working nurse, she’s built a comfortable life for herself and her teenage son, an aspiring writer. But when tragedy strikes and her beloved only child is killed in a car accident, her world crumbles. The heartbroken woman learns her son’s final wish was to know of his father – the man she abandoned when she was pregnant 18 years earlier. Returning to Barcelona in search on him, Manuela overcomes her grief and becomes caregiver to a colorful extended family; a pregnant nun, a transvestite prostitute and two troubled actresses. With riveting performances, unforgettable characters and creative plot twists, this touching screwball melodrama is ‘an absolute stunner. -
Catalogo Del Festival
Apclai Associazione per la Promozione della Cultura Latino Americana in Italia Via Massari, 3/14 30 175 VENEZIA Tel.Fax: (39) 041.538 23 71 Cell.: (39) 347.236 45 35 E-mail: [email protected] [email protected] http://www.cinelatinotrieste.org In copertina: opera di Ana Laura Pascale (Argentina) 1 2 Associazione per la Promozione della Cultura Latino Americana in Italia (APCLAI) Con il patrocinio di: ISTITUTO ITALO - LATINO AMERICANO ARCOIRIS TV Segretario Generale: Giorgio Malfatti di Monte Tretto FONDAZIONE LOGOS MINISTERO DEGLI AFFARI ESTERI CENTRO STUDI PER L’AMERICA LATINA MINISTERO PER I BENI E LE ATTIVITA’ CULTURALI (CSAL) di Trieste Direttore Generale per il Cinema: Nicola Borrelli UNIVERSITA’ DEGLI STUDI DI TRIESTE SCUOLA SUPERIORE DI LINGUE MODERNE PER INTERPRETI E TRADUTTORI La Giuria del XXVII Festival del Cinema Latino Americano – Sezione Film in Concorso - è com- UNIVERSITÀ DEGLI STUDI DI TRIESTE posta da: Presidente Giuria: Luis Estrada (Messico) Alberto García Ferrer (Spagna) Con il contributo di: Camila Loboguerrero (Colombia) Carmelo Romero (Spagna) REGIONE FRIULI VENEZIA GIULIA Presidente: Renzo Tondo La Giuria del XXVII Festival del Cinema Latino Vicepresidente: Luca Ciriani Americano – Sezione CONTEMPORANEA è Assessore alla Cultura: Elio De Anna composta da: Alessandro Signetto (Presidente - Coordinatore) PROVINCIA DI TRIESTE Laura Perini Presidente e Assessore alla Cultura: Silvia D’Arrigo Maria Teresa Bassa Poropat Margherita Madaro COMUNE DI TRIESTE Premio Malvinas Sindaco e Assessore alla Cultura: Juan Octavio -
Embodying Citizenship in Brazilian Women's Film, Video, And
Embodying Citizenship in Brazilian Women’s Film, Video, and Literature, 1971 to 1988 by Leslie Louise Marsh A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in The University of Michigan 2008 Doctoral Committee: Associate Professor Catherine L. Benamou, Co-Chair Assistant Professor Lawrence M. La Fountain-Stokes, Co-Chair Associate Professor Sueann Caulfield Associate Professor Maria E. Cotera Assistant Professor Paulina Laura Alberto A catfish laughs. It thinks of other catfishes In other ponds. ⎯ Koi Nagata © Leslie Louise Marsh 2008 To my parents Linda and Larry Marsh, with love. To all those who helped and supported me in Brazil and To Catherine Benamou, whose patience is only one of her many virtues, my eternal gratitude. ii Table of Contents Dedication ii Abstract iv Chapter 1 Introduction 1 2 The Body and Citizenship in Clarice Lispector’s A 21 Via Crucis do Corpo (1974) and Sonia Coutinho’s Nascimento de uma Mulher (1971) 3 Comparative Perspectives on Brazilian Women’s 90 Filmmaking and the State during the 1970s and 1980s 4 Contesting the Boundaries of Belonging in the Early 156 Films of Ana Carolina Teixeira Soares and Tizuka Yamasaki 5 Reformulating Civitas in Brazil, 1980 to 1989 225 6 Technologies of Citizenship: Brazilian Women’s 254 Independent and Alternative Film and Video, 1983 to 1988 7 Conclusion 342 Sources Consulted 348 iii Abstract Embodying Citizenship in Brazilian Women’s Film, Video, and Literature, 1971 to 1988 by Leslie Louise Marsh Co-Chairs: Catherine L. Benamou and Lawrence M. -
Directed by BRUNO BARRETO Starring
Presents: Directed by BRUNO BARRETO Starring: MIRANDA OTTO GLORIA PIRES TRACY MIDDENDORF Screenplay by MATTHEW CHAPMAN and JULIE SAYRES, Based on the Screenplay by CAROLINA KOTSCHO, AC. Two iconic women One passion Based on the true love story of Elizabeth Bishop and Lota de Macedo Soares. Marketing/Publicity Contacts required viewing Steven Raphael [email protected] Denise Sinelov [email protected] Big Time PR Sylvia Desrochers [email protected] Tiffany Bair Wagner [email protected] Short synopsis Academy Award nominateed filmmaker Bruno Barreto (FOUR DAYS IN SEPTEMBER, DONA FLOR AND HER TWO HUSBANDS) returns with a sophisticated tale of an unlikely romance between two extraordinary artists, set against the backdrop of political upheaval and a clash of cultures. Grappling with writer’s block, legendary American poet Elizabeth Bishop (Miranda Otto) travels from New York City to Rio de Janeiro in the 1950s to visit her college friend, Mary (Tracy Middendorf). Hoping to find inspiration on Mary’s sprawling estate, Elizabeth winds up with much more — a tempestuous relationship with Mary’s bohemian partner, architect Lota de Macedo Soares (Glória Pires), that rocks the staid writer to her foundation. Alcoholism, geographical distance and a military coup come between the lovers, but their intimate connection spans decades and forever impacts the life and work of these two extraordinary artists. The attraction of two polar-opposite women has rarely been so volatile and so erotically charged on the big screen. Long synopsis 1951, a cargo boat arrives in Rio de Janeiro, Brazil coming from New York. ELIZABETH, 40, disembarks, she plans on leaving for a journey through South America on a boat that will depart within 5 days. -
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. -
Zully Rodriguez Wikipedia Diccionari
Zully rodriguez wikipedia diccionari Continue The cinema arrived in Latin America in 1896, a year after its first public screening in Paris. With him came film and projection equipment and specialists of the region, mainly Italian. In Argentina, in the early 20th century, the Frenchman Eugenio Pai made the first films, the Italian Atelio Lipizzi founded the film company Italate-Argentina, and the Austrian Max Gluxmann created a distribution system vital to the sound period. When the first exhibition halls appeared, another important pioneer, The Italian Mario Gallo, appeared, followed by his compatriots Edmundo Peruzzi and Federico Valle. Uruguayan Julio Raul Alsina, associated with distribution and exhibition, was the first to open a studio with a laboratory. Argentinian cinema has revealed other names, such as Edmo Cominetti, Nelo Kosimi, Jose Agustan Ferreira, Roberto Guidi, Julio Irigoyen and Leopoldo Torre Rios, who joined the board of directors of the silent period. The cinema was opened in Rio de Janeiro in the so-called beautiful era of Brazilian cinema, in the early 20th century, the Portuguese Antonio Leal, the Spanish Francisco Serrador, the Brazilian brothers Alberto and Paulino Bocheli and Marc Ferres and his son, Jalio (associated with Pate, from Paris) followed. German Eduardo Hirtz appeared in Porto Alegre. Around 1912, the regional features of silent cinema were laid out: in Pelotas, Portuguese Francisco Santos; in Belo Horizonte, Italians Igino Bonfioli; in Barbazen, Paulo Benedetti; in Sao Paulo, other Italians, Vittorio Capellaro, Gilberto Rossi and Arturo Carrari; in Campias, Felipe Ricci and E.K. Kerrigan of The United in Recife, Gentile Roise, Ari Sever, Jota Soares and Edson Chagas; in the Amazon region, two documentary filmmakers, The Portuguese Silvino Santos (Manaus) and the Spaniard Ramon de Banos (Belem). -
Cine Latinoamericano Filmliste 1980
Directory of World Cinema: Latin America Edited by Isabel Maurer Queipo, University of Siegen, GER LATIN AMERICA LATIN AMERICA FILMS (since 1980): FILMS (since 1980): A) B) ARGENTINA ECUADOR BOLIVIA EL SALVADOR BRASIL GUATEMALA COLOMBIA HONDURAS CHILE NICARAGUA MEXICO PANAMA PERU PARAGUAY VENEZUELA PUERTO RICO REPÚBLICA DOMINICANA URUGUAY 1 ARGENTINA ¿Dónde estás amor de mi vida que no te puedo encontrar?, Dir. Juan José Jusid, 1980-1990 1992 El compa Clodomiro y la economía, Dir. Cine de la Base, 1980 Breve crónica del pueblo selknam, Dir. Francisco Avizanda Contín, 1992 Tiempo de revancha, Dir. Adolfo Aristarain, 1981 Crónica del pueblo selk'nam, Dir. Francisco Avizanda Contín, 1992 Ecos sobre Los Andes, Dir. Miguel Pereira, Francisco Urioste, 1982 Devoción, Dir. Daniel Ulises Franceson, 1992 El arreglo, Dir. Fernando Ayala, 1982 El lado oscuro del corazón, Dir. Eliseo Subiela, 1992 La fiesta de San Esteban, Dir. Daniel Hugo Matz, 1982 El marido perfecto, Dir. Beda Docampo Feijóo, 1992 Los últimos días de la víctima, Dir. Adolfo Aristarain, 1982 El viaje, Dir. Fernando E. Solanas (Pino Solanas), 1992 Mapuches: hombres de la tierra, Dir. Mario Agreda Sivila, 1982 Five hundred years later (Quinientos años después), Dir. León Willems, 1992 Martín Choque, un telar de San Isidro, Dir. Tristán Bauer, Silvia Chanvillard, Latidos de la quebrada, Dir. Rubén Pérez Bugallo, 1992 1982 Los toldos: la identidad enmascarada, Dir. Alberto Giudici, 1992 Ni tan blancos, ni tan indios, Dir. Tristán Bauer, Silvia Chanvillard, 1982 No te rías de un coya, Dir. Mario Gowbard, 1992 Plata dulce, Dir. Fernando Ayala, 1982 Un lugar en el mundo, Dir. -
48 Festival Internacional De Cine De Huesca / Catélogo Oficial
La Fundación y el equipo del Festival Internacional de Cine de Huesca quieren dedicar esta edición a la memoria de Javier Brun. Técnico de cultura del Ayuntamineto de Huesca, pionero, culto, generoso y generador de sinergias, redes de colaboración e intercam- bios culturales. Colaborador, defensor y orgulloso de este, que fue también su festival. LIMINAR PRELIMINARY EDITORIAL EDITORIAL scuchaba estos días el testimonio del social, como aportación a la comunidad, un festi- escritor, aventurero y antropólogo Bruce val como el de Huesca. Chatwin, viendo grabar a Werner Herzog, Salimos, esta vez sí, como una edición histórica de Erecogido en el documental NOMAD, visto la que me siento orgulloso. No solo adaptados sino en la edición del D´A Film Festival reconvertida crecidos, desarrollados y materializando algunas a online a través de la plataforma VOD, Filmin: ideas que siempre han estado ahí y que esta malpa- “(…) Es un compendio de contradicciones, enor- rida pandemia ha acelerado. El inminente salto onli- memente duro, aunque vulnerable, afectuoso y ne, obvio para un festival internacional con impacto distante, austero y sensual, no muy adaptado a en todo el mundo, no solo es una forma de combatir las preocupaciones del día a día pero muy eficaz las dificultades físicas, sino también de permitir a bajo condiciones extremas.” mucha gente que queremos y vive fuera poder dis- Responsabilidad, adaptación y oportunidad, frutar del certamen. Esto es completamente com- además de un egoísta instinto de supervivencia. patible con las más de 9000 personas que asistie- Estas son las razones profundas que han llevado ron físicamente a nuestra edición anterior, a las que a todo el equipo de la 48ª edición del Festival esperamos, desde todo el mundo, en cuanto este Internacional de Cine de Huesca a, como se dice maldito bicho nos lo permita.