Brazilian cinema

Brazilian cinema is film made in Brazil, spanning popular entertainment and works that engage with the country’s social and political realities.

Humberto Mauro: A Brazilian filmmaker whose silent and early sound films helped establish national cinema. His films from the 1920s and 1930s supplied an early model for locally grounded filmmaking.
Vera Cruz Studios: A São Paulo film studio founded in 1949 to produce technically polished feature films. Its short-lived attempt to build a large-scale studio system contrasts with Brazil’s later independent production.
Limite: A 1931 Brazilian silent film directed by Mário Peixoto, noted for its experimental imagery and editing. Its formal ambition shows that Brazilian modernism predates Cinema Novo.
Nelson Pereira dos Santos: A Brazilian filmmaker whose works helped lay the groundwork for Cinema Novo. His films joined social observation with formal innovation before the movement coalesced.
Hollywood cinema: The film industry centered in Hollywood, influential for its studio system and globally distributed popular films. Brazilian filmmakers have alternately imitated, parodied, challenged, and negotiated Hollywood’s dominance.
Atlântida Cinematográfica: A Brazilian film studio known for producing popular comedies and musical films from the 1940s through the 1960s. Its chanchadas made studio-produced popular entertainment a defining strand of Brazilian film.
Brazilian military dictatorship: The authoritarian regime that ruled Brazil from 1964 to 1985. Censorship and political pressure shaped what filmmakers could produce and show.
Black God, White Devil: A 1964 film by Glauber Rocha about violence, religion, and social struggle in Brazil’s Northeast. It is a landmark example of Cinema Novo’s political modernism.
Ruy Guerra: A Brazilian filmmaker and screenwriter associated with Cinema Novo. His films brought political critique and stylistic experimentation to the movement.
Third Cinema: A political film movement advocating anti-colonial, revolutionary filmmaking outside dominant commercial cinema. Its ideas illuminate the political commitments shared by parts of Cinema Novo.

Linked from 7 pages