Brazils Current Film Industry :: essays research papers

In this paper I will discuss brazil nut andits current assume application. I will elucidate its situation in the Brazilianeconomy, and also what part the government deals in the industry itself.Certain Brazilian films will be given as representations towards my theories. indoors a year of the Lumiere brothersfirst experiment in Paris in 1896, the cinematograph machine appearedin Rio de Janeiro. Ten years later, the capital of the United States boasted 22 cinema housesand the first Brazilian feature film, The Stranglers by Antonio Leal, hadbeen screened. From hence on Brazils film industry made nonstop progressand, although it has never been large, its output over the years has attractedinternational attention. In 1930, still the era of the silent movie inBrazil, Mario Peixotos film, Limite was made. Limite is a surrealisticwork dealing with the conflicts raised by the human delimit and how lifeconspires to prevent total fulfillment. It was considered a landmark filmin the Braz ilian cinema history. In 1933 Cinedia produced The Voice ofCarnival, the first film with Carmen Miranda. This film ushered in thechanchada which dominated Brazilian cinema for many years. Chanchadaswere the humorous comedies, generally filled with musical numbers andthoroughly cherished by the public.By the revoke of the 1940s Brazilianfilm making was graceful an industry. The Vera Cruz photographic film Company was createdin Sao Paulo with the goal of producing films of international quality.It hired technicians from abroad and brought back from Europe, AlbertoCavalcanti, a Brazilian filmmaker with an international reputation to power pointthe company. Vera Cruz produced some important films before it closed in1954, among them the epic O Cangaceiro which won the Best Adventure Filmaward at Cannes Film Festival in 1953. In the 1950s, Brazilian cinemaradically changed the federal agency it made films. In his 1995 film, Rio 40 Graus,director Nelson Pereira dos Santos employed t he filmmaking techniquesof Italian non realism by using ordinary people as his actors and by goingto the streets to shoot his low budget film. He would become unitary of themost important Brazilian filmmakers of all time, and it is he who set the defend for the Brazilian cinema novo (an idea in mind and a television camera inthe hands) movement. By 1962 cinema novo had established a new creationin Brazilian filmmaking. The cinema novo films dealt with themes relatedto sharp-worded national problems, from conflicts in rural areas to human problemsin the large cities, as well as film versions of important Brazilian novels.At the end of the 1960s, the Tropicalist movement had taken hold of the