Left-wing engagement in the emergence of modern Brazilian cinema (1954-1964)
DOI:
https://doi.org/10.48075/ri.v27i2.34001Keywords:
Brazilian cinema, committed art, Revista Civilização Brasileira, Cinema NovoAbstract
The aim of this paper is to problematize the path of left-wing engagement by filmmakers related to the emergence of modern brazilian cinema, covering a time frame that goes from 1954 (year in which Rio, 40 Graus was produced) to the 1964 Coup. In an analytical procedure that progresses from the general to the particular, we start with the general scenario of Brazilian left-wing activism in such time frame to analyze the common aspects and the particularities of the left-wing filmmakers’ political activism - which, from the turn of the 1950s to the next decade, is associated around the film movement of Cinema Novo. This research shows how the filmmakers mobilized around general issues concerning national politics, issues concerning the committed art in general and also issues exclusively related to cinema, such as the need to develop the national cinematographic industry to continue Brazilian film’s production, distribution and exhibition. Using writings made by critics and directors as source of research, which were regarded according to Tânia Regina de Luca’s methodological guidelines and to Raymond Williams’ materialism, we aimed to apply the general formulations by Ridenti and Napolitano concerning committed art and left-wing activism to detail the particularities of committed cinema - in a way that takes further these authors’ analyses.
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