Allegories of underdevelopment : aesthetics and politics in modern Brazilian cinema
著者
書誌事項
Allegories of underdevelopment : aesthetics and politics in modern Brazilian cinema
University of Minnesota Press, 1997
- : pbk
- 統一タイトル
-
Alegorias do subdesenvolvimento
大学図書館所蔵 全7件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
"A camera in the hand and ideas in the head" was the primary axiom of the young originators of Brazil's Cinema Novo. This movement of the late 1960s and 1970s overcame technical constraints and produced films made on practically non-existent budgets. This work examines a number of these films, arguing that they served to represent a nation undergoing a political and social transformation into modernity. Film maker Glauber Rocha claimed that Cinema Novo was driven by an "aesthetics of hunger". This scarcity of means demanded new cinematic approaches which eventually gave rise to a legitimate and unique Third World cinema. This text presents and interprets revolutionary films - from the works of Rocha to the experiments of Julio Bressane, Rogerio Sganzerla, Andrea Tonaci and Arthur Omar. Focusing on each film maker's use of narrative allegories for the "conservative modernization" Brazil and other nations underwent in the 1960s and 1970s, the author asks questions relating to the connection between film and history.
He examines the way in which Cinema Novo transformed Brazil's cultural memory and charts the reactionary roles which Marginal Cinema and Tropicalism played in this process. Among the films he discusses are "Brazil: Year 2000", "Black God White Devil", "Land in Anguish", "Red Light Bandit", "Macunaima", "Antonio das Mortes", "The Angel is Born", and "Killed the Family and went to the Movies". A history of modern Brazilian cinema, this book brings to light the work of many film makers who are virtually unknown in the English-speaking world.
目次
- Part I The teleology of history: "Black God White Devil" - allegory and prophecy. Part II The crisis of teleology land in anguish: allegory and agony
- "Red Light Bandit" - allegory and irony
- the levels of incoherence - or the mirage of the nation as a subject. Part III Allegory and melancholy: "Macunaima" - the delusions of eternal childhood
- "Antonio das Mortes" - myth and simulacrum in the crisis of revolution. Part IV: Allegory and deconstruction: "The Angel is Born" - the song of exile
- "Killed the Family and went to the Movies" - the ersatz carnival
- bang bang - passage, not destination. Part V Further developments: trends of allegory in the 1970s.
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