Brazil on screen: Cinema Novo, New Cinema and Utopia

"Two periods of Brazilian film history are particularly notable for their artistic momentum : the Cinema Novo movement of the 1960s and early '70s, and the film revival from the mid 1990s onwards. What makes them especially strong, this book argues, is their utopian impulse. By adopting Utopia as a theme, as well as a method of film analysis, Lucia Nagib unveils, organises and interprets a fascinating wealth of recurrent images, which are a bridge between a cinema strongly concerned with the national project and another informed by global culture. Outstanding recent films, such as "Central Station", "Perfumed Ball", "Hans Staden", "Orfeu", "City of God" and "The Trespasser", are illuminated by Nagib's sharp analysis, which detects utopian, anti-utopian and even dystopian impulses in them. They are at once representatives of a political arena in constant struggle against underdevelopment and legitimate (as well as critical) heirs of past cinematic traditions. Throwing new light on a large selection of Cinema Novo and contemporary films, this book thus presents a national cinema that rejects the end of history and of film history, while benefiting from, and contributing to, a new transnational aesthetics"--Page 4 de la couverture What connects films of a particular nation, in a particular time? & nbsp; What makes them especially interesting and revealing? & nbsp; This book offers an original answer to these central questions for world cinema, focusing on the case of Brazil and the return of the utopian gesture into its cinema. & nbsp; In this extensively illustrated book, LA*cia Nagib argues that the foundational utopian imaginary that has permeated culture in Brazil since the time of the first discoverers has had a decisive influence on its film aesthetics, especially at creative peaks, such as the Cinema Novo movement of the 1960s and early '70s, and the cinematic revival from the mid 1990s onwards. & nbsp; She shows how utopian motifs like images of the sea or the classical Greek myth of Orpheus establish a bridge between these two periods, guaranteeing thereby historical continuity from a cinema concerned with the national project to another engaged in a globalised dialogue. & nbsp; In focus are classics of Cinema Novo, such as 'Black God, White Devil', 'Land in Anguish' and 'How Tasty was my Little Frenchman', alongside representatives of a more recent transnational aesthetics, including the anti-utopian 'City of God'and the urban dystopia of 'The Trespasser'

what Connects Films Of A Particular Nation, In A Particular Time? What Makes Them Especially Interesting And Revealing? This Book Offers An Original Answer To These Central Questions For World Cinema, Focusing On The Case Of Brazil And The Return Of The Utopian Gesture Into Its Cinema. In This Extensively Illustrated Book, Lúcia Nagib Argues That The Foundational Utopian Imaginary That Has Permeated Culture In Brazil Since The Time Of The First Discoverers Has Had A Decisive Influence On Its Film Aesthetics, Especially At Creative Peaks, Such As The Cinema Novo Movement Of The 1960s And Early '70s, And The Cinematic Revival From The Mid 1990s Onwards. She Shows How Utopian Motifs Like Images Of The Sea Or The Classical Greek Myth Of Orpheus Establish A Bridge Between These Two Periods, Guaranteeing Thereby Historical Continuity From A Cinema Concerned With The National Project To Another Engaged In A Globalised Dialogue. In Focus Are Classics Of Cinema Novo, Such As 'black God, White Devil', 'land In Anguish' And 'how Tasty Was My Little Frenchman', Alongside Representatives Of A More Recent Transnational Aesthetics, Including The Anti-utopian 'city Of God'and The Urban Dystopia Of 'the Trespasser'.

"Two periods of Brazilian film history are particularly notable for their artistic momentum: the Cinema Novo movement of the 1960s and early '70s, and the film revival from the mid 1990s onwards. What makes them especially strong, this book argues, is their utopian impulse. By adopting Utopia as a theme, as well as a method of film analysis, Lucia Nagib unveils, organises and interprets a fascinating wealth of recurrent images, which are a bridge between a cinema strongly concerned with the national project and another informed by global culture. Outstanding recent films, such as "Central Station", "Perfumed Ball", "Hans Staden", "Orfeu", "City of God" and "The Trespasser", are illuminated by Nagib's sharp analysis, which detects utopian, anti-utopian and even dystopian impulses in them. They are at once representatives of a political arena in constant struggle against underdevelopment and legitimate (as well as critical) heirs of past cinematic traditions. Throwing new light on a large selection of Cinema Novo and contemporary films, this book thus presents a national cinema that rejects the end of history and of film history, while benefiting from, and contributing to, a new transnational aesthetics."--Book cover.0 Lúcia Nagib. Includes Bibliographical References (p. 133-141), Filmography (p. 143-155), And Index.