Full text
| |
| Author(s): |
Estevão de Pinho Garcia
Total Authors: 1
|
| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA/SBD) |
| Defense date: | 2018-05-04 |
| Examining board members: |
Ismail Norberto Xavier;
Rubens Luis Ribeiro Machado Junior;
Fabián Rodrigo Magioli Núñez;
Antonio Carlos Amancio da Silva;
Mateus Araújo Silva
|
| Advisor: | Ismail Norberto Xavier |
| Abstract | |
The thesis presents as an objective to approach the modern cinema post - 1968 in Brazil and Argentina by comparative analysis between the five movies of the carioca\'s producer Belair and the three of the portenha\'s side Cine Subterráneo. The films that are part of this object study are Família do barulho, Barão Olavo, o horrível e Cuidado madame, from Júlio Bressane and Copacabana mon amour and Sem essa Aranha, from Rogério Sganzerla. Also by Alianza para el progreso, from Julio Ludueña, Puntos suspensivos, from Edgardo Cozarinsky and La família unida esperando la llegada de Hallewyn, from Miguel Bejo. As central line, we have the new inflection front the interface between cinema and politic put in practice after 1968 and that was put in conflict with previous dynamics models. Those dynamics, the Cinema Novo in Brazil and the Grupo Cine Liberación in Argentina, fit into the Nuevo Cine Latinoamericano (NCL), label that houses different movements of politic cinema spread by distinct countries of the continent. Outside their orbit, both Belair and Cine Subterráneo are practices no more stimulated by the imperative of \"awareness cinema\" and no more circumscribed to a project of politic revolution. They are manifestations that stand out for the esteem they give to work by the form and for the creative act of cinematographic realization. This one is linked to a questioning of the conventional statute of the film that directs to a repositioning towards their production, circulation and reception. From the exam of questions that signalize a rupture with NCL or the research for new paths we structure our formal analysis of the eight films. (AU) | |
| FAPESP's process: | 14/12812-2 - Belair and CAM: modern cinema post-1968 in Brazil and Argentina |
| Grantee: | Estevão de Pinho Garcia |
| Support Opportunities: | Scholarships in Brazil - Doctorate |