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International Film Festival April 24 – May 4, 2008 the Washington, Dc International Film Festival
THE 22ND ANNUAL WASHINGTON, DC INTERNATIONAL FILM FESTIVAL APRIL 24 – MAY 4, 2008 THE WASHINGTON, DC INTERNATIONAL FILM FESTIVAL A world of films…a window into our world. Whether experienced in movie theaters, on DVDs or television in our homes, on our iPods or computers, films are the major communications media of our time. Hollywood films dominate commercial cinema. However, scores of talented filmmakers around the globe produce thou- sands of quality films that speak with a different voice, provide a different point of view, and tell different stories. Presenting these films in the nation’s capital is the purpose of Filmfest DC. Photo: Chad Evans Wyatt Film festivals are a journey of Tony Gittens, Festival Director and Shirin Ghareeb, Assistant Director discovery, a visual and thought provoking adventure into how people see and interpret our world. Every Filmfest DC is different and every film is unique from every other film in the festival. Together, they comprise an amazing representation of human imagination, commitment and talent. The festival has two special focuses this year — Politics & Film and New Latin Ameri- can Cinema. Obviously, politics are especially prominent during this election season and we wanted to explore the role affairs of state play in people’s every day lives. Latin American filmmakers are always a treasure trove of inventive storytelling. The di- verse selection of new work we have gathered from the Spanish-speaking world (in- cluding Spain) are moving, humorous, and insightful. None of this would be possible without the many dedicated people who have shared their time and talents with Filmfest DC. -
BAM Presents Brazilian Superstar Marisa Monte in Concert, May 1 & 2
BAM presents Brazilian superstar Marisa Monte in concert, May 1 & 2 SAMBA NOISE Marisa Monte With special guests Arto Lindsay, Seu Jorge, and more TBA BAM Howard Gilman Opera House (30 Lafayette Ave) May 1 & 2 at 8pm Tickets start at $35 April 8, 2015/Brooklyn, NY—Renowned Brazilian singer/songwriter Marisa Monte makes her BAM debut with two nights of contemporary Brazilian popular music in a show specifically conceived for the BAM Howard Gilman Opera House. The performances feature Monte’s hand-picked band and guest artists. Praised by The New York Times as possessing “one of the most exquisite voices in Brazilian music,” Marisa Monte has been the benchmark for excellence among female singers in Brazil since she burst upon the scene in 1987. As she approaches the 30-year mark of her career, she still commands the same admiration and prestige that greeted her stunning debut. Her 12 CDs and seven DVDs have sold over 10 million copies worldwide and garnered 11 Latin Grammy Award nominations (winning four) and eight Video Music Brazil awards. For her BAM debut, she will perform with artists that are closely associated with her, including American producer/composer Arto Lindsay, Brazilian singer/songwriter/actor Seu Jorge, and others to be announced. About the Artists Born in Rio de Janeiro, the home of samba, Marisa Monte honed her singing skills with operatic training in in Italy. Her work embraces the traditions of MPB (música popular brasileira) and samba within a pop format that is modern and sophisticated. Aside from being a talented composer—she recorded her own work starting with her second album, Mais (EMI-Odeon, 1991), produced by Arto Lindsay—Monte is considered one of the most versatile performers in Brazil. -
OCR a Level Film Studies
R Film Studies A Level Film Studies F633 Section A: Messages and values in Global Film Study Guide 1: Elite Squad August 2014 www.ocr.org.uk/filmstudies Oxford Cambridge and RSA A LEVEL FILM STUDIES F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD CONTENTS Film facts 4 Synopsis 4 Before Viewing – Issues and research points Social / historical / political / cultural contexts 4 Messages and values 5 Genre 5 Narrative 5 Representation 5 Authorship 6 Theme 6 While Watching Genre 7 Narrative 7 Messages and values 7 Representation 7 Authorship 7 Theme 7 Style 7 2 A LEVEL FILM STUDIES F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD After viewing – weighing it all up Genre 8 Narrative 8 Messages and values 8 Representation 8 Authorship 8 Theme 8 Style 8 3 A LEVEL FILM STUDIES F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD F633 SECTION A: MESSAGES AND VALUES IN GLOBAL FILM STUDY GUIDE 1: ELITE SQUAD FILM FACTS SYNOPSIS Directed by: José Padilha The film is set in the late 1990s, in the run-up to the Pope’s visit to Rio. Rio has a considerable organised crime problem and criminal Certificate: 18 gangs have turned some favelas into ‘no-go’ areas. The BOPE (Battalion of Special Operations) are fighting the criminal gangs Running time: 115 minutes and corruption inside the ordinary police force in their bid to bring Release date: 8th August 2008 peace and order to Rio. Captain Nascimento, joined by his two apprentices, Matias and Neto are on the front line of this inter war and the story follows their tribulations – private and professional – as they attempt to accomplish their mission. -
O Engajamento Radical De Carlos Marighella
ENTRE A LUTA ARMADA E A POESIA LIBERTÁRIA: O ENGAJAMENTO RADICAL DE CARLOS MARIGHELLA Paulo Bungart Neto1 Resumo: O artigo discute a atuação política e a obra poética de Carlos Marighella, demonstrando de que maneira as duas atividades configuram uma atitude, coerente e coesa, de oposição à ditadura militar e de denúncia da falta de liberdade e de inúmeros problemas sociais e econômicos da nação brasileira. Com o apoio de biógrafos, memorialistas e romancistas, procurarei deixar claro o modo como a poesia libertária de Marighella se adequa perfeitamente ao discurso do “comunista” e do “guerrilheiro” a ele associado ao longo de décadas de oposição política, práxis que o torna modelo de abnegação e amor à “causa”, pela qual morreu em combate. Palavras-chave: Carlos Marighella (1911-1969); ditadura militar; literatura brasileira contemporânea; memórias. Abstract: The article discusses the political action and the poetry of Carlos Marighella, showing in whi- ch way both activities formed a coherent attitude against the military dictatorship and denunciating the lack of freedom and several social and economic problems of Brazil. With the support of biographers, memorialists and novelists, I will try to show the way the libertarian poetry of Marighella is adapted to his “communist” and “guerrilla fighter” discourse, practice which turns him into a model of self-forge- tfulness and dedication to a “cause” by which he died fighting. Keywords: Carlos Marighella (1911-1969); military dictatorship; contemporaneous Brazilian literature; memoirs. 1 Doutor. Professor do curso de Graduação e Pós-Graduação (Área: Literatura e Práticas Culturais) da Universidade Federal da Grande Dourados (UFGD), em Dourados-MS. -
Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America. -
Carlos Marighela E Carlos Lamarca Memórias De Dois Revolucionários
RVO Denise Rollemberg Doutora em História Social pela UFF. Professora do Departamento de História da UFF. Carlos Marighela e Carlos Lamarca Memórias de dois revolucionários O texto propõe a discussão das histórias de The text intends to discuss the biographies of vida de Carlos Marighella e Carlos Lamarca, os Carlos Marighella e Carlos Lamarca, two major dois revolucionários de maior expressão na revolutionaries in the Brazilian armed struggle, luta armada, no Brasil, do final da década de in the late 1960s e early 1970s; the memories 1960 e início dos anos 1970; das memórias elaborated by the left organization and the construídas nas esquerdas e na direita militar; right wing militaries; the oblivion and silence do esquecimento e do silêncio numa sociedade in a society unaware of these constructions, as it alheia a essas construções, como alheia esteve às was unaware of these ideas and practices while suas ideias e práticas enquanto Marighella e Marighella and Lamarca viveram. Lamarca lived. Palavras-chave: Memória; opinião; Keywords: Memory; opinion; biography; biografia; luta armada; ditadura. armed struggle; dictatorship “Não se pode negar que há incoerências dos confins um estilo próprio a uma sociais e que suscita a época, um habitus mudança social” resultante de experiências (Giovanni Levi)1 comuns e reiteradas, assim como há em cada época um estilo próprio de um grupo. arlos Marighella e Carlos Mas para todo indivíduo Lamarca, os dois dirigentes re existe também uma C volucionários de maior expres- considerável margem de são da luta armada, no Brasil do final da liberdade que se origina década de 1960 e início dos anos 1970, precisamente das tiveram trajetórias muito diferentes. -
Brazilian Films at Berlinale'19 and Companies Attending the EFM'19
Brazilian films at Berlinale’19 and Companies attending the EFM’19 ABOUT US Cinema do Brasil aims to reinforce and expand the participation of Brazilian audiovisual productions in the international market, to encourage the development of co-productions and the distribution of Brazilian films abroad. It is an export program implemented in 2006 by the São Paulo’s Audiovisual Industry Guild (SIAESP) in partnership with the Brazilian Trade and Investment Promotion Agency (Apex- Brasil), gathering today more than 180 companies. FOUNDER AND CONSULTANT OF CINEMA DO BRASIL ANDRE STURM [email protected] EXECUTIVE MANAGER ANA LETÍCIA FIALHO [email protected] TRADE PROMOTION AND COMMUNICATION KAREN HALLEY [email protected] INTERNATIONAL CONSULTANT MARIKA KOZLOVSKA [email protected] LOCAL PRODUCER FERNANDO NIÑO-SÁNCHEZ [email protected] CONTACT www.cinemadobrasil.org.br [email protected] THIS DIRECTORY CONTAINS INFORMATION ABOUT THE BRAZILIAN FILM PRODUCERS, DISTRIBUTORS, SALES AND FILM FESTIVAL Meet our team at ATTENDING THE EUROPEAN FILM MARKET 2019. Gropious Bau #134 3 COMPETITION (OUT OF COMPETITION) MARIGHELLA by Wagner Moura Brazil | 2019 | 155 min | Drama “Marighella” tells the frantic story of the “Brazilian Che Guevara”, Carlos Marighella, during the early years of Brazil’s military regime in the 60’s. After being banished from the Communist Party, Marighella organized the largest urban guerilla group in Brazil - the “National Liberation Front”. His name raised to mythical proportions, Marighella -
THE POLITICAL THOUGHT of the THIRD WORLD LEFT in POST-WAR AMERICA a Dissertation Submitted
LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History By Benjamin Feldman, M.A. Washington, DC August 6, 2020 Copyright 2020 by Benjamin Feldman All Rights Reserved ii LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA Benjamin Feldman, M.A. Thesis Advisor: Michael Kazin, Ph.D. ABSTRACT This dissertation traces the full intellectual history of the Third World Turn: when theorists and activists in the United States began to look to liberation movements within the colonized and formerly colonized nations of the ‘Third World’ in search of models for political, social, and cultural transformation. I argue that, understood as a critique of the limits of New Deal liberalism rather than just as an offshoot of New Left radicalism, Third Worldism must be placed at the center of the history of the post-war American Left. Rooting the Third World Turn in the work of theorists active in the 1940s, including the economists Paul Sweezy and Paul Baran, the writer Harold Cruse, and the Detroit organizers James and Grace Lee Boggs, my work moves beyond simple binaries of violence vs. non-violence, revolution vs. reform, and utopianism vs. realism, while throwing the political development of groups like the Black Panthers, the Young Lords, the League of Revolutionary Black Workers, and the Third World Women’s Alliance into sharper relief. -
Sept 27 @ 7:30 PM the Beacon Theatre P. 7
NEW YORK | SEPTEMBER 1 2017 | BRAZILIAN MUSIC FOUNDATION | ASUOS | EDITION#3 SEU JORGE Sept 27 @ 7:30 PM The Beacon Theatre P. 7 A TRIBUTE TO DAVID BOWIE EDITOR’S NOTE Dear friends, On September 7th we will be celebrating 195 years of Brazilian freedom, Independence Day, with lots of fanfare and excitement. “Brazil’s Independence was officially announced on the 7th of September 1822 from the hands of the Portuguese. Since then it has been a country. For ages Brazil has represented the great escape to a prehistoric, tropical heaven, igniting the Western imagination like no other South American country. Brazil had its unique attributes including having had a reigning monarch and an empire that boasts of a relatively bloodless independence from Portugal. Brazilians did not have to fight tooth and nail nor did they create any type revolt. The King himself declared in the Grito do Ipiranga, "By my blood, by my honor, and by God: I will make Brazil free" with the motto "Independence or Death!" Every year, thousands get together in a mad passion to proudly celebrate Brazilian Independence Day. A country of mythic proportions, people gather in the streets celebrating with banners, balloons and streamers. For those that do not know anything about Brazilian culture, here is an opportunity to go to one of the events, get in the green and yellow mood, and see the richness of Brazilian art and hear the variety of sounds, rhythms and styles that exist in our repertoire. Furthermore, I hope you just enjoy the magazine in general and support Brazilian Music Foundation’s mission, which is to promote, educate and advance Brazilian Music in the Americas. -
Popular Culture Imaginings of the Mulatta: Constructing Race, Gender
Popular Culture Imaginings of the Mulatta: Constructing Race, Gender, Sexuality, and Nation in the United States and Brazil A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jasmine Mitchell IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Bianet Castellanos, Co-adviser Erika Lee, Co-adviser AUGUST 2013 © Jasmine Mitchell 2013 Acknowledgements This dissertation would have been impossible without a community of support. There are many numerous colleagues, family, friends, and mentors that have guided ths intellectual and personal process. I would first like to acknowledge my dissertation committee for their patience, enthusiasm, and encouragement while I was in Minneapolis, New York, São Paulo, and everywhere in between. I am thankful for the research and methodological expertise they contributed as I wrote on race, gender, sexuality, and popular culture through an interdisciplinary and hemispheric approach. Special gratitude is owed to my co-advisors, Dr. Bianet Castellanos and Dr. Erika Lee for their guidance, commitment, and willingness to read and provide feedback on multiple drafts of dissertation chapters and applications for various grants and fellowships to support this research. Their wisdom, encouragement, and advice for not only this dissertation, but also publications, job searches, and personal affairs were essential to my success. Bianet and Erika pushed me to rethink the concepts used within the dissertation, and make more persuasive and clearer arguments. I am also grateful to my other committee members, Dr. Fernando Arenas, Dr. Jigna Desai, and Dr. Roderick Ferguson, whose advice and intellectual challenges have been invaluable to me. -
A Morte, O Preço Da Vilania: O Uso Do “Quem Matou?” Nas Telenovelas De Gilberto Braga Death, the Price of Villainy: the Us
A morte, o preço da vilania: o uso do “Quem Matou?” nas telenovelas de Gilberto Braga Death, the price of villainy: the use of "Who Killed?" in soap operas Gilberto Braga Alliston Fellipe Nascimento dos SANTOS1 Raquel Marques Carriço FERREIRA2 Resumo As telenovelas das nove da Rede Globo de Televisão vêm há muito tempo utilizando a estratégia do suspense em suas últimas semanas através do uso do “Quem matou?”, ao assassinar, de forma misteriosa, um dos vilões da trama, na tentativa de atrair o público ao último capítulo, quando será revelada a identidade do assassino. Este recurso é bastante utilizado pelo autor Gilberto Braga, que desde 1988, quando escreveu a telenovela Vale Tudo, utiliza esse estilo em suas narrativas. O principal objetivo deste trabalho é o de analisar a audiência do último capítulo das tramas do novelista, exibidas entre 2000 a 2015, em comparação às outras que não utilizaram a mesma estratégia para conquistar a audiência, a fim de verificar se esse recurso, de fato, tem sido condição de sucesso para as telenovelas. Palavras-Chave: Telenovelas globais. Narrativa policial. Suspense. Vilania. Audiência. Abstract Soap operas nine in the Globo Television Network have long time using the suspense strategy in the last few weeks by using the "Who killed him? " The murder, mysteriously, one of the plot of the villains in an attempt to attract the public to the last chapter, when the killer's identity will be revealed. This feature is widely used by the author Gilberto Braga, which since 1988, when he wrote the soap opera Vale Tudo, uses this style in their narratives. -
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.