Brazils Current Film Industry :: essays research papers

In this paper I will discuss Brazil andits current train industry. I will elucidate its role in the Brazilianeconomy, and also what part the government deals in the industry itself.Certain Brazilian darts will be given as representations towards my theories.Within a year of the Lumiere brothersfirst experiment in Paris in 1896, the cinematograph utensil appearedin Rio de Janeiro. Ten years later, the capital boasted 22 cinema housesand the first Brazilian feature film, The Stranglers by Antonio Leal, hadbeen screened. From then on Brazils film industry made continuous 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 condition and how lifeconspires to prevent total fulfillment. It was considered a landmark filmin the Brazilian cinema history. In 1933 Cinedi a produced The Voice ofCarnival, the first film with Carmen Miranda. This film ushered in thechanchada which dominated Brazilian cinema for many years. Chanchadaswere the slapstick comedies, generally filled with musical numbers andthoroughly cherished by the public.By the end of the 1940s Brazilianfilm making was becoming an industry. The Vera Cruz record 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 headthe company. Vera Cruz produced some primal 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 way it made films. In his 1995 film, Rio 40 Graus,director Nelson Pereira dos Santos employed the filmmaking techniquesof Italian non realism by using nondescript people as his actors and by goingto the streets to shoot his low budget film. He would become one of themost important Brazilian filmmakers of all time, and it is he who set thestage for the Brazilian cinema novo (an idea in mind and a camera inthe hands) movement. By 1962 cinema novo had established a rude(a) conceptin Brazilian filmmaking. The cinema novo films dealt with themes relatedto acute 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