Popular Cinema In Brazil,1930-2001

Contents List of figures = viii Acknowledgements = ix preface = x Introduction = 1 Defining the 'popular' in the Latin American context = 1 Approaches to Brazilian cultural production = 2 Modernity and hybridity in Latin America = 4 A note on statistics = 6 1 The cultural origins of popular cinema in Brazil = 9 The lehgacy of the teatro de revista = 9 The impact of circus on popular film = 13 Carnival and popular film = 23 Malandragem and jeitinho: challenges to the established order = 21 Radio and popular film = 23 Concluding remarks = 25 2 The 1930s = 31 Introduction = 31 Carnival, Carmen Miranda and the birth of the chanchada = 35 Alo.Alo. Carnaval!: a landmark in popular film = 38 Adhemar Gonzaga, Cinearte magazine and the cinedia studio = 45 Brasil Vita Filme and Sonofilmes studios = 48 Bananas and baianas = 51 Concluding remarks = 53 3 The 1940s = 59 Introduction = 59 Atlantida Cinematografica and the consolidation of the chanchada tradition =62 Protagonists and plots = 64 Music = 65 Carnivalesque somersaults = 66 Two paradigmatic chanchadas from te late 1940s = 67 The sonofilmes and Cinedia studios in the1940s = 69 The comedies of luiz de Barros = 72 Popular melodrama: o ebrio = 74 Concluding remarks = 76 4 The 1950s = 81 Introduction = 81 Anti-establishment discourses in popular film = 83 Migration, modernity and social upheaval = 89 humour and popular identification in the chanchada = 96 Imitation and parody of Hollywood paradigms = 100 Afro-Brazilizan identity in the chanchada = 107 Innovation in the chanchada = 115 Concluding remarks = 118 5 The 1960s = 128 Introduction = 128 The legacy of the chanchada in the 1960s: Nelson Rodrigues and Dias Gomes on film = 129 Challenges to the chanchada: the cinema novo = 132 Second-phase cinema novo: Garota de ipanema = 133 Cinema novo and Tropicalismo: Macunaima = 135 Chanchada meets melodrama: Toda nudez sera castigada = 138 Mojica Marins: Coffin Joe and Brazilian horror = 140 Concluding remarks = 144 6 The 1970s = 149 Introduction = 149 The chanchada legacy in popular film of te 1970s = 150 Abertura and Embrafilme: comedy and pornochique = 171 Concluding remarks = 178 7 The 1980s = 187 Introduction = 187 Cinema novo, utopia and popular culture = 188 Nelson Rodrigues on screen in the 1980s = 194 Hard-core porn = 197 Concluding remarks = 199 8 The 190s = 204 Introduction = 204 Defining the retomada = 205 The sertao on screen = 206 Nastalgia and revisiting the chanchada in the 1990s = 216 Popular music in 1990s film = 222 Concluding remarks = 226 Conclusion = 233 Filmography = 236 Select bibliography = 245 Index = 247 List of Figures 1 Carmen and Aurora Miranda in Alo. Alo. Carnalval ! (reproduced with the kind permission of Alice Gonzaga) = 39 2 Oscarito in Alo. Alo. Carnaval! (reproduced with thekind permission of Alice Gonzaga) = 44 3 Oscarito as Paul Picansso in Pintando o sete (reproduced with the kind permission of Atlantida) = 89 4 Eliana Macedo and Grande Otelo in Carnaval Atlantida (reproduced with the kind permission of Atlantida) = 113 5 Grande Otelo in Macunaima (reproduced with the kind permission of the de Andrade Family) = 136 6 darlene Gloria in Toda nudez sera castigada (repoduced with the kind permission of Arnaldo Jabor) = 140 7 Publicity still from the Trapalhoes's version of Planet of the Apes (courtesy of MAM film archive) = 156 8 Jucilea Telles in uma Mulata para todos (reproduced with the kind permission of renato Machado) = 162 9 Publicity still from A banana mecanica (courtesy of MAM film archive) = 166 10 Publicity still from Bacalhau (courtesy of MAM film archive) = 169 11 Jose Wilker in Dona Flor e seus dois maridos (reproduced with the kind permission of L.C.B. Producoes) = 174 12 Sandoal in For all (reproduced with the kind permission of Luiz Carlos Lacerda) = 218

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