Vozes de aruanda

By | 07.08.2018

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless. The studio system revealed its lack of viabUity and new conceptions of film practice, production, and aesthetics emerged and were fiercely debated. In fact, after Mauro made only two features, Argila and O Canto da Saudade , yet his total production after that time was in the hundreds.

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In lieu of an abstract, here is a brief excerpt of the content: The studio system revealed its lack of viabUity and new conceptions of film practice, production, and aesthetics emerged and were fiercely debated.

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Despite Noronha's Umited production, his impact was great. Within this context of transition, this essay wiU contrast documentary discourses of two directors, Humberto Mauro and Linduarte Noronha, who have been aruajda identified as important precursors of Cinema Novo.

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Coinciding with the end of Vera Cruz were intense discussions about possible alternative models of film production and aesthetics. With the demise of Vera Cruz, the dream of creating a national film industry based on a studio model of production turned into a nightmare.

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After the mids, the bulk of Mauro's cinematic activity involved documentary films of a scientific or cultural nature. This website uses cookies to ensure you get the best experience on our website.

Vozse MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Documentary Discourses and National Identity: Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

In fact, after Mauro made only two features, Argila and O Canto da Saudadeyet his total production after that time was in the hundreds.

Without cookies your experience may not be seamless. The search for new models for Brazilian cinema would flourish in the early s with the emergence of Cinema Novo. More specifically, I will discuss a series of short films, known as the Brasiliana series, made by Humberto Mauro between andand Noronha's Amanda, focusing on the films' conflicting notions of national identity —a romantic, nostalgic, idylUc vision in the case of Mauro, a much more hard-nosed, critical vision in the case of Noronha— and on the relationship between their respective documentary practice and Cinema Novo.

3 thoughts on “Vozes de aruanda

  1. Zolorg

    It is interesting. Tell to me, please - where to me to learn more about it?

    Reply

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