Cinema Novo Lecture 15

Snap shot of Brazilian Film Production 1978—most successful year ever; 61.8 million spectators; 29.2% of the market; 100 films produced 1992—36,000 spectators; 3 films produced 2002—7.4 million spectators; 30 films produced

Early Cinema in Brazil First screening held in Rio de Janeiro in July 1896 (six months after Lumiere’s Paris screening) : Bela Época – Brazilian films dominated the internal market— over 100 films per year Film in Brazil: always an elite/middle class attraction (not popular with the working classes)

Brazilian Avant-Garde Mário Peixoto’s Limite (1930) – “The Brazilian Experimental film” – Eisenstein referred to it as a “work of genius”

Humberto Mauro, pioneer of Brazilian film First film 1925 Made Fiction films in 1920s and 1930s Made Documentaries for INCE (National Institute of Educational Cinema) in (357 documentary films) Most important precursor to Cinema Novo Ganga Bruta (1933)--masterpiece

Before Cinema Novo, 1930s-1950s: Experiments in industrial film production (sound film) – Cinédia Studios Chanchada genre (musical comedies) – Alô, Alô, Carnaval (Adhemar Gonzaga, 1936) » Carmen Miranda – Atlântida Studio (Rio de Janeiro)—vertically integrated Chanchada – Vera Cruz Studio (São Paulo)—”Tropical Hollywood”—modeled on MGM Established 1949, Bankrupt in 1954 Produced O Cangaceiro (Lima Barreto, 1953) – won highest award at the Cannes film festival

Carmen Miranda, chanchada star

Brazil, 1950s Developmental Nationalism – President Juscelino Kubitschek ( ) Rapid industrialization: – b/t —industrial production increased by 80% – Develop national industry with the help of foreign capital and loans from the IMF New Capital City: Brasilía – Built by Oscar Niemeyer (architect) and Lucio Costa (town- planner) – Building began in 1956; city inaugurated in 1960

Brasilía, Capital of Brazil

Original design of the Pilot Plan by Lucio Costa, 1957

Cinema Novo Three phases – Phase 1: – Phase 2: – Phase 3: Directors: Glauber Rocha, Ruy Guerra, Carlos Diegues, Nelson Pereira dos Santos

Cinema Novo, Phase 1: Mode of Production – Independent and artisanal i.e. total rejection of the Vera Cruz and chanchada models – Low budget (ex: $25,000 to make _Vidas Secas_) Mode of representation – Outdoor, location shooting – Nonprofessional actors – Themes: Everyday life themes; Progressive, socially critical of lack of institutions – Cinematography: overexposure; high contrast; handheld camera work; mobile; long takes; no filters or bounce boards – Sound: ambient; no score – Editing: Continuity – Mise-en-scene: realist

Vidas Secas, opening sequence (Nelson Pereira dos Santos, 1963)

Vidas Secas, ox cart (diegetic sound) (Nelson Pereira dos Santos, 1963)

Vidas Secas, ending (Nelson Pereira dos Santos, 1963)