This research proposes to analyze a set of national films independent of the horror genre, through a theoretical perspective based on the poetic of Bordwell, in how the low budget and the production methods of the national chain end up being encompassed in the aesthetics of the films. The Brazilian audiovisual is fomented through public policies and incentive laws, because it is a process that involves a certain competition, the filmmakers of horror films must carry out their works with low budgets and limited resources, through that, they are forced to resort to creative solutions to circumvent difficulties. Horror also has in its history as a genre a connection with limited resources, so to understand the works of the directors studied here, it is also necessary to understand the canons of the genre, which from the first German cinema took its first steps, until to consolidate like genre in 1930 with the productions of the Universal, the films of monster. Such solutions reverberate in the works of RZP films, Fábulas Negras and other authors, denoting an aesthetic pattern in Brazilian genre films, making this a characteristic of the poetics of the films, that is, the low budget becomes a foundation for the final quality of the product. In addition to analyzing films through poetics, this research aims to understand the motive that leads to low budget, a brief contextualization of public policies and the history of productions. Therefore, since Mojica, Brazilian filmmakers study and reproduce the horror genre of our form, with its own poetics, making the low budget become part of the aesthetic.
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