Gilberto Miranda Biography

The country's film industry has existed for more years, Brazilian cinema had its own ups, but even more falls. From a year in Brazil, almost short films were produced per year. Most of them are considered lost. Basically, these were the staging of criminal reports, the “reassured” films during the showing singers hid behind the screen and provided live voice acting and adaptation of literary works.

The barrier between the audience and the Brazilian cinema was imported products. Rio de Janeiro Brazil, the year Hollywood began to pursue the policy of the "good neighbor" even before the US administration really began to look after the cultural life of the South American countries. North American businessmen mastered the Brazilian film market in the X, and many cinemas made their rolling grid only from foreign films.

After the end of the First World War in San Paulo, Rio de Janeiro and other large cities, distribution networks appeared to promote foreign films, most of them were American. Against this background, Brazilian filmmakers switched to the production of carriers and documentaries - not the most popular genres among the mass viewer. The Brazilian authorities tried to rectify the situation and adopted a law in the year, which taxed North American films with high taxes.

At first, this measure worked, there were more Brazilian paintings. North American producers responded with counter -meters and increased investments in advertising. In the eyes of the audience, foreign films looked more attractive than the Brazilian, thanks to a variety of plots and star names in the credits. The Carnival during the dictatorship with the advent of sound cinema Brazilian directors again pulled attention to themselves, relying on the obvious advantage that American paintings did not have: Brazilian music.

So the genre of musical cinema Chanceta appeared, which combined the carnival tradition, musicals and comedy Revay. But this could also be considered a victory with an asterisk, because popular films, although they were “planted” on local soil, were still filmed by Hollywood patterns. Chanceta turned out to be very popular and commercially profitable and therefore dominated the box office.

Not everyone spoke positively about Canchad. Critics scolded frivolous stories, vulgarity and low quality of shooting, which is very inferior to Hollywood. Most of all in cultural circles discussed the blur of national identity and simplification of cultural traditions. Those who became embraced on the posters were puffed. So, Carmen Miranda built her career in Hollywood, became one of the most popular Portugal -speaking generation actresses and the barzilian culture in the United States.

But for the Brazilians, she was the one because of whom the stereotypical postcard image of the Brazilian with bananas in the hairstyle appeared. In the year, the Vera Cruz studio tried to translate the Brazilian film industry into intellectual cinema rails, with an eye on Europe. To some extent, she coped with the task. For example, the film "Bandit" of the year received two awards in Cannes and gathered a good box office in his homeland.

But it was not possible to repeat this success, Vera Cruz closed already in the middle of x. Brazilian cinema for a long time ignored the surrounding realities, fearing a frank dialogue with the audience. Fatigue and anxiety spilled in the air did not leak into the screens. Almost through the entire history of Brazilian statehood, poverty scars and operational distribution of the country's resources are drawn.

From x to the middle of the X, Brazil survived the great depression, the revolution, suicide of the president and the change in the constitution. This negatively affected the culture of Brazil, creating VAZIO Cultural - a cultural void. Brazil and political crises after the revolution of the year Brazil was led by Tovtuliu Vargas. Using populist methods and lifting nationalist sentiments, he managed to centralize power, suppress the opposition and establish the dictatorial regime “Estado New” “New State”, which operated up to a year.

Vargas returned to power in the year after a short period of democratization. By the middle of the x Brazil was in a deep economic crisis. In the year of Vargas, the military government overthrew and he committed suicide. Instead of “reeds Nov, a military dictatorship came, the third Brazilian Republic, and the cultural sphere began to be controlled even more.

The art-reproduction originated in X was a reaction to repression, censorship and socio-economic crisis. Director Nelson Pereira Santush was the first to try to show their lives to the Brazilians. The semi -documentary film "Rio, 40 degrees" of the year spoke about the stratification of the Brazilian society through the eyes of the boys who are interrupted by the sale of peanuts.

For those times, it was a bold and innovative decision. Cinema Nova in the years poured a stream of new ideas on the screens. This phenomenon was called "Cinema Nova" - "New Cinema".Key researchers of the Brazilian cinema Randall Johnson and Robert Stam distinguish three stages in the history of Cinema Nova: the first - C to the first coup d'etat, the second - C to the second revolution and the third for the year.

At each stage, the range of problems under study and artistic techniques changed not only as a result of aesthetic and narrative experiments, but also under the pressure of censorship and fear of repression.

Cinematographers have always followed new laws - at least for their own safety. The stages of development of sprout -social cinema in the country with such a complex political life were directly related to what was happening in the presidential residence. Cinema Nova arose at the same time with the rise of the labor movement, the growth of political activity of the intelligentsia and the creation of the Brazilian National Union of Unegan Students.

The program of the new president, Zhuselin Kubichek, who came to power in the year, also instilled cautious optimism. Kubichk promised the population a long -desired progress and, as one of the first steps, was established by the Higher Institute of Brazilian research isb, which was dealing with issues of national ideology and development. Personnel from the film Cinco Vezes Favela authors Cinema Nova were focused in places that commercial cinema tried to ignore: on the Favels, Brazilian slums and certificates are poorly populated wastelands.

The innovators wanted to show what the urban and rural lumpen testis is faced with: hunger, violence, religious alienation and economic operation. In their films, there is a strong influence of both Italian neorealism and the French new wave, as well as Soviet cinema x with its special expressiveness. The motives of local folklore and household mysticism were woven into acutely social stories.

These were low -budget, shot on a manual camera, independent films in which unprofessional actors participated. Incidentality and rough picture, rejected by large rental, the authors of Cinema Nova made their business card. After Rio, 40 degrees, Nelson Pereira Santush organically joined Sinema Nova in the year with the film based on the novel of the same name by Ramsilian Ramos di Oliveira “ruined lives”.

The camera in this work followed a family of four, who endlessly traveled around Brazil, fleeing hunger and drought. A year later, the film received a prize of the Cannes Film Festival in one of the special nominations. Another important film is the “guns” of Roya Herra. In the picture, we see tired soldiers who are trying to drive away the peasants exhausted by the drought and the hunger of the warehouse with food.

At the “Berlinal” of the year, the film received one of the main awards - a silver bear. Another important figure of the countercultural Brazilian cinema is the director and theoretician Glauber Rosh. By the middle of the X, he shot one full -length film and several short films, but published the book “Critical Revision of Brazilian Cinema”. In the second full meter, “God and the devil on the Earth of the Sun”, Rosha is looking for causes of poverty and decline in the country.

According to the plot, the main character, the cowboy Manuel, kills his boss-operator and, together with his wife, goes to flight. Along the way, they meet both religious fanatics and bandits. Frame from the film Antoniu Das Mortes. Director Glauber Rosh IMDB Rosha addresses not only mysticism, but also to another important phenomenon of the Brazilian village: Robin Gudam Kangaseiro Cangaceiros - “Social Bandits”.

Despite the marginal lifestyle, the bandits often bought goods from the peasants at high prices, so the rural population treated them with sympathy and helped to avoid punishment. Later, marginalized groups of the population began to be called the term "Kangasa". In the beginning of the X, Glauber Rosha published the manifesto "Aesthetics of Hunger." In it, the director described the main task of Cinema Nova to “reflect the problems and hunger of Latin America” and opposed the colonial influence on Brazilian cinema.

We understand this hunger. Europeans and most Brazilians could not understand him. For a European, this is a strange tropical surrealism, for the Brazilian - a national shame. He is hungry, but ashamed to talk about it, nevertheless he does not know where this hunger comes from. We know, because they shot these ugly, sad films, these screaming, desperate films in which reason does not always prevail.

We know that moderate government reforms will not heal this hunger. Glauber Rosh “The aesthetics of the Hunger”, the year of tropicaly by the beginning of the x in the cultural environment of Brazil, a new direction - tropicaly. It was a response to the crisis of identity, which led politicians and the intelligentsia from both flanks of the political spectrum to cultural nationalism, often issued for anti -colonialism.

Tropicalist artists listened to conservatives and left-wing anti-imperialists and chose an unexpected and not accepted strategy: if it was not possible to avoid cultural expansion, then cultural cannibalism could be the answer. Some peoples have believed that in this way it is possible to find the qualities of an individual eaten. The text of de Andrade began with Shakespeare's reinterpatement: “Tupi or not tupi: that is the professional”.

Even if Shakespeare is devoid of immunity and can serve with food for something new, then what is better than rock and roll and Hollywood cinema? According to the same logic, the star of Chanceta-films Carmen Miranda became one of the unspoken symbols of the tropicalia because of its characters in the Hollywood period, stereotypical and processed for greater export value, but unique in their own way.

The term “tropicalia” itself is associated with the immersive installation of an abstracter Elio Otisiki. The artist first reassures the open picture of Brazil - with the gentle sun, palm trees and white sand. The installation of the “tropicalia” of the artist Elio Otisiki, the year of Tate Museum, the nucleus of the direction was mainly musicians, but, according to one of the versions, the impetus for the development was the film by Glauber Roshi “Earth in the Trans” of the year.

The action of the "land in the trance" takes place in the fictional country of Eldorado. The main hero-poet is drawn into the struggle between the right politician who dreams of becoming an emperor, and his populist rival. Rosha alternately shows both politicians, but upon closer examination, the difference between them is almost invisible. Political debates and reasoning of the worried intelligentsia are interrupted by the image of the people and the consequences of hunger.

Seeing one council after another on a film, the censors tried to ban the show of the film, but after the pressure of the Brazilian and French filmmakers, the picture was released. The premiere of "Earth in Trans" took place at the Cannes festival. At the end of the decade, many directors left the country due to military dictatorship and the input of official censorship, this began in the year.

The show of non -profit films with social subtext became practically impossible, but the remaining organized their own network of films. It is believed that it was at this moment that the ideological backbone of the movement of Sinema Nova was designated.