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Rethinking Third Cinema
In 1968, Argentinean Filmmakers Fernando Solanas and Octavio Getino first articulated the theory of a "Third Cinema" - a revolutionary genre of cinema that would counter oppression on a global scale. Intended to be a "guerilla cinema" geared at contesting the overwhelming dominance of Western cinema, Solana and Getino distinguished "Third Cinema" from other forms of cinema, classifying these other types as First Cinema (commercial cinema epitomized by Hollywood) and Second Cinema. "Third Cinema" was supposed to be a liberationary tool - particularly for the bulk of the world that was subject to European imperialism, such as Latin America, Africa and Asia. Spanning a wide geographical spread ...
Crossing Frontiers
Der Band untersucht das Genre erstmals eingehend in seinen komplexen und vielschichtigen interkulturellen Auffächerungen, die sich in nationalspezifischen Western-Variationen finden. Er eröffnet interessante Perspektiven auf diesen film- und kulturgeschichtlich kaum erschlossenen Bereich. Ein Schwerpunkt gilt den verschiedenen nationalen Western-Varianten in Osteuropa. Beiträge von Spezialisten aus Polen, Tschechien und Russland arbeiten bislang unbekannte Übereinstimmungen und Differenzen im Gebrauch des Genres in den damals kommunistischen Ländern zu Tage. Deutlich wird dabei u.a., dass das ideologisch als anrüchig betrachtete, aber beim Publikum sehr beliebte Genre vor allem in Russ...
The New Brazilian Cinema
Lucia Nagib presents a comprehensive critical survey of Brazilian film production since the mid 1990s, which has become known as the "renaissance of Brazilian cinema". Besides explaining the recent boom, this book elaborates on the new aesthetic tendencies of recent productions, as well as their relationships to earlier traditions of Brazilian cinema. Internationally acclaimed films, such as "Central Station", "Seven Days in September" and "Orpheus", are analysed alongside daringly experimental works, such as "Chronically Unfeasible", "Starry Sky" and "Perfumed Ball". Contributors include Carlos Diegues, Robert Stam, Laura Mulvey and Jose Carlos Avellar.
O cinema da retomada
Apresenta um amplo painel histórico do cinema no Brasil entre 1994 e 1998, com depoimentos de 90 cineastas que participaram da retomada do cinema nacional.
20 years of independent cinema
Every January, from 1996 to 2016, while I was suffering with summer in Rio I received snowy news from the Sundance Festival through Carlos Brandão and his partner Myrna. In those 20 years, Carlos and Myrna were my main source of information about independent world cinema. It is a great joy to see all this material gathered in a book. Carlos was a passionate researcher and, along with Myrna, an experienced reporter. Their interviews and reports on films and directors that have passed through Sundance have the mark of someone who saw everything up close. And knew how to tell it. Carlos Alberto Mattos – Film Critic When Robert Redford founded the nonprofit Sundance Institute in 1981, the int...
Transnationalism and Imperialism
While Western films can be seen as a mode of American exceptionalism, they have also become a global genre. Around the world, Westerns exemplify colonial cinema, driven by the exploration of racial and gender hierarchies and the progress and violence shaped by imperialism. Transnationalism and Imperialism: Endurance of the Global Western Film traces the Western from the silent era to present day as the genre has circulated the world. Contributors examine the reception and production of American Westerns outside the US alongside the transnational aspects of American productions, and they consider the work of minority directors who use the genre to interrogate a visual history of oppression. B...
A Century of Brazilian Documentary Film
Since the late nineteenth century, Brazilians have turned to documentaries to explain their country to themselves and to the world. In a magisterial history covering one hundred years of cinema, Darlene J. Sadlier identifies Brazilians’ unique contributions to a diverse genre while exploring how that genre has, in turn, contributed to the making and remaking of Brazil. A Century of Brazilian Documentary Film is a comprehensive tour of feature and short films that have charted the social and political story of modern Brazil. The Amazon appears repeatedly and vividly. Sometimes—as in a prize-winning 1922 feature—the rainforest is a galvanizing site of national pride; at other times, the ...
Paulo Emílio Salles Gomes
This volume includes the first English translations of Paulo Emílio Salles Gomes’ most influential essays on Hollywood, Soviet, European and Brazilian Cinema. Provides readers with theoretical ruminations on the vicissitudes of developing a national film archive, extending our appreciation of national film theory to encompass such practical endeavours. Shows how Brazil’s national film culture was theorised through extensive engagements with international trends thereby broadening our understanding of national cinema.
Popular Cinema in Brazil: 1930-2001
This work provides an entertaining introduction to popular film in Brazil, situating major box-office successes such as Central Station, in their socio-historical context.
