Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo

Co-edited with Terry Caesar and William Hummel. Latin American Popular Culture. The University of Pittsburgh Press, O artista do povo: Mazzaropi no cinema brasileiro. A Scream through Time and Space. Defining Brazil in Race, language, and Origin. Race, Sexuality, and Exclusion. Brazil and its Reflections.

Some books of interest

Revista de Letras Universidade Federal do Rio de Janeiro; Proceedings l Universidade Federal do Rio de Janeirol; Proceedings l The Erasure of Society and the Narrative Prophecy. Kevin Larsen and Jerry Hoeg.

Amal Amireh and Lisa Suhair Majaj, eds. Essays on Latin American Popular Culture. University of Pittsburgh Press, Reference Guide to Short Fiction.

Chasqui, revista de literatura latinoamericana. Mazzaropi and Brazilian Cinema.

The history of cinema's early period in Brazil is still disputed despite progress made in terms of systematically arranging and analysing data. The fact is that, even in the early 20th century, Brazil's fluctuating output had to compete with imported foreign films and was unable to so on an equal footing. The latter produced one of Brazilian cinema's most significant directors: Humberto Mauro, who was actively involved making classic Brazilian silent films such as Tesouro perdido Lost Treasure and Sangue mineiro Blood of Minas Gerais , followed by a fruitful series that provided some of the major points of reference for the Cinema Novo movement, as discussed below.

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Mauro was one of several leading figures emerging at that time who would continue to make films in the next period. Chanchadas eventually engaged in an important dialogue with viewers. Many talents migrated from radio stations and theatre stages to cinema through these films. While mirroring the American studios' production model, his comedies parodied Hollywood too.

Some of his characters that became highly popular and are still seen as major icons of our cinema included the remarkable duo Oscarito and Grande Otelo featured in a series of films. In the following decades, his Jeca Tatu hillbilly character was immortalized in a series of hits that he himself produced.

However, the industry's ambition was soon to be dented by box-office numbers that could not sustain this production model, so the major local studios were wound up. Much criticized by other Brazilian filmmakers who had avoided this business model, the cinema of the 's also prompted a period of heated debate. Critic and director Alex Viany posed important questions concerning the aesthetics of this imported "industrial" filmmaking. In the context of the s, a film that set a new pointer for Brazilian Cinema and its future was Rio 40 Graus Rio, Degrees , directed by Nelson Pereira dos Santos, who was involved in those discussions.

Its narrative featuring young black men and the dramas of their everyday lives in the city of Rio de Janeiro wed something to the influence of Italian neorealism. As the title suggests, Rio itself was also one of the leading characters. Rio 40 Graus Rio, Degrees is quite unlike the city portrayed in chanchadas or other Brazilian or foreign studio films.

Its realist aesthetic, along with the elements it engendered, laid the groundwork for the next trend. Bossa Nova emerged and a number of social changes were underway while there was talk of prosperity and progress. In this context of far-reaching transformations, Cinema Novo arose as a high-powered and complex aesthetic movement that some theorists have rated the most significant development in Brazil's cinema history.

Not persuaded that the Brazilian cinema's "industrial" period methods predominant in hegemonic countries should be the standard way of making films, this group sought to compose a different image of the country while making the most of precarious or makeshift technique to forge new aesthetics. Glauber Rocha, who was hailed as the movement's leader due to the active stance seen in his films, writings and political approach, defined the group and its cinema in his well-known "manifesto" Eztetyka da fome Aesthetics of Hunger:.

What made cinema novo an important international phenomenon was precisely its high level of commitment to reality. It was its focus on poverty miserabilismo , previously found in s literature, now being filmed for s cinema.

Poverty had previously been denounced as a social question; now it was to be discussed as a political problem. When the coup ushered in a new period of dictatorship with repressive legislation AI-5 , this group's cinema dissipated but one of its strands re-emerged as cinema marginal [outcast cinema]. Despite the difficulties of that period, censorship and repression were unable to prevent Brazilian directors producing valuable works for the cinema: The abundance of films produced was not accidental.

Although a very hostile period in Brazil, the s and 70s were very relevant in institutional terms for Brazilian cinema. A quota system sought to ensure exhibition for Brazilian films; box-office numbers were controlled; awards were geared to revenue and quality; and remittances of takings from foreign films screened in Brazil were taxed for the proceeds to be invested in local cinema.

New institutions were designed to manage culture in line with the development of capitalism in Brazil: A point to note is that Brazil did not have a Ministry of Culture until In the period, an average of 32 films a year were made in Brazil. From to , the annual number rose to 50 and then to over 80 in the s and 80s. Exhibition was also affected by policy requiring locally made films and regulating box-office reports to ensure systematic statistical data.

In the same period, the number of theatres in Brazil reached its highest level ever at 3, in and Brazilian film was buoyed by this growth with features on programs all over the country. In the late s, the era of the 'economic miracle', many local films drew large audiences, including:. In the early s, a few films had their box-office numbers counted in the millions and Brazilian films retained a large market share. However, high revenues from the early s failed to inoculate the industry against the severe economic crisis that gripped the country in the wake of the so-called 'economic miracle'.

Rampant inflation, high unemployment and a shrinking economy earned the s their "lost decade" epithet.