Cinema Novo

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At Cinema Novo , the "New Cinema " is a film direction in the late 1950s in Brazil has emerged. A comparable movement in music that originated in Brazil at the same time is called tropicalismo . The Cinema Novo represents a countermovement to the Hollywood cinema of the 1950s, which dominated the Brazilian film market at that time. The goals of Cinema Novo are the fight against the overwhelming power of American films, the reflection on national traditions, an authentic expression, criticism of social injustice and the cinematic dialogue with the people. The Novo Cinema came into being in Portugal under the same principles. The most important representative of Cinema Novo is the director and filmmaker Glauber Rocha (not related to the Portuguese Novo Cinema director Paulo Rocha ).

The Cinema Novo is divided into three phases

The Cinema Novo can be divided into three phases. In the first phase (1954–1964) Nelson Pereira dos Santos established himself as the spiritual father of Cinema Novo. The aim of his films Rio 40 Graus (1955) and Vidas Secas (1963) is to shock the audience with Brazilian reality. His films are strongly influenced by Italian neorealism , so his actors are all laypeople.

In the second phase of Cinema Novo from 1964 to 1968 , the Brazilian director and filmmaker Glauber Rocha , the most important representative of the Brazilian Cinema Novo, filmed v. a. impoverished people in the north of the country. His mystical documentary films of this phase are difficult to understand and are directed against commercial cinema in Brazil and the USA . Important films by Glauber Rocha in this epoch are Deus eo diabo na terra do sol (1964) and Terra em transe (1967)

In 1965 Glauber Rocha wrote his theoretical concept for the Brazilian Cinema Novo " Uma Estética da Fome ". In this he states, among other things, that Latin Americans neither communicate their misery to civilized Europeans , nor that they really want to understand it. In addition, the greatest originality of the Latin Americans is hunger, their greatest misery, however, is that this hunger is felt but not intellectually understood. One should learn from Cinema Novo that an aesthetic of violence is revolutionary before it is primitive.

The last phase of the Cinema Novo from 1968–1972 is the so-called cannibalistic-tropicalistic phase . During this time Glauber Rocha made the film Antônio das Mortes (1969), which tells the story of an uprising against oppression and depicts Brazilian folk festivals and rites. Another important film from the cannibalistic-tropicalistic phase of Cinema Novos is Joaquim Pedro de Andrade's film Macunaíma from 1969. It tells the story of a Brazilian who is being eaten by Brazil.

In the late 1970s, Glauber Rocha declared the Cinema Novo dead due to political repression .

literature

  • Regina Aggio: Cinema Novo - a cultural-political project in Brazil. Gardez! Publishing house, Remscheid 2005.
  • Jean Claude Bernardet: The Brazilian Cinema Novo and the unresolved contradiction. In: Peter B. Schumann (Ed.): Cinema and Struggle in Latin America. On the theory and practice of political cinema. Carl Hanser Verlag, Munich 1976, pp. 95-116.
  • Günter Giesenfeld (ed.): In the shadow of Cinema Novo, cinema and film studies in Brazil. Schüren, Marburg 2006, ISBN 3-89472-048-4 .
  • Michael T. Martin (Ed.): New Latin American Cinema. Wayne State University Press, 1997, ISBN 0-8143-2586-6 .
  • Lúcia Nagib : Brazil on Screen: Cinema Novo, New Cinema, Utopia. IB Tauris, New York 2007, ISBN 978-1-84511-328-5 .
  • Lúcia Nagib (Ed.): The New Brazilian Cinema. IB Tauris, New York 2003, ISBN 1-86064-928-9 .
  • Martin Schlesinger: Brazil of the pictures. (= Series of modern film. Volume 7). VDG, Weimar 2008, ISBN 978-3-89739-601-2 .
  • Peter W. Schulze: Transformation and Trance. Glauber Rocha's films as work on post-colonial memory. Gardez! Verlag, Remscheid 2005, ISBN 3-89796-161-X .
  • Peter W. Schulze, Peter B. Schumann (eds.): Glauber Rocha e as culturas na América Latina. Berlin 2011, ISBN 978-3-939455-07-3 .
  • Peter B. Schuman: Handbook of Latin American Films. Verlag Klaus Dieter Vervuert, Frankfurt am Main 1982.
  • Robert Stam, Randal Johnson (Eds.): Brazilian Cinema. Columbia University Press, 1995.
  • Kiu Eckstein : One Life - Two Worlds. Biographical Notes in Times of Change. Hamburg 2017, ISBN 978-3-7439-3297-5 pp. 91–94, 97f., 140.

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