Cultural societies, anonymous societies: economic issues of cultural spaces in Rio...
Meanwhile, in Sao Paulo ...: at the time of Cinema Novo, a Sao Paulo´s cinema at a...
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Author(s): |
Caroline Gomes Leme
Total Authors: 1
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Document type: | Doctoral Thesis |
Press: | Campinas, SP. |
Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
Defense date: | 2016-03-30 |
Examining board members: |
Marcelo Siqueira Ridenti;
Arthur Autran Franco de Sá Neto;
Mariana Miggiolaro Chaguri;
Marilia da Silva Franco;
Paulo Roberto Arruda de Menezes
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Advisor: | Marcelo Siqueira Ridenti |
Abstract | |
The goal of this thesis is to analyze the trajectories and works of a group of "Paulista" filmmakers which, according to our central hypothesis, were situated throughout the 1960s and 1970s in a kind of "place in-between". There was, on the one side, the "Cinema Novo" (New Cinema), which represented the main aesthetic and cultural reference point and was the dominant group of filmakers at the time, and on the other side, the film production conditions present in São Paulo largely represented by São Paulo's so called "Boca do Lixo" (Garbage Mouth), which was the predominant location for commercial production. Roberto Santos (1928-1987), Luiz Sérgio Person (1936-1976), Maurice Capovilla (1936-), Sergio Muniz (1935-), João Batista de Andrade (1939-), Francisco Ramalho Jr. (1940-) and Renato Tapajós (1943-) form the group of Paulista filmmakers under analysis. They are situated between the "author's cinema" and the most direct integration in the dynamics of the cultural industry (not only expressed by the proximity to the "Boca do Lixo", but also by their works in advertising and television). Their trajectories are irregular and do not find a determined place in the history of Brazilian cinema. As an extension of the central hypothesis, we suggest that the conditions of this "place in-between", added to the fact that the films are from the São Paulo metropolis, gave these filmmakers different perspectives from those of their contemporaries. In their films, we find a singular approach to the contradictions in capitalist urban modernity. These films put issues such as alienated labor, the cultural industry, and the reification of social relations on screen. Taking the propositions of Raymond Williams (1977, 2000, 2011a) as the theoretical basis, this thesis does not assume a dichotomy between "externalist" and "internalist" approaches to cultural artifacts, understanding that these are part of a social process to be unraveled through the interelationship between its elements. Thus, the trajectories of the filmmakers are considered in relation to each other, in relation to the film prodution conditions, and in relation to the socio-historical context. As well, we analise the audiovisual works produced by them, by examining the meanings they bring through their audiovisual construction (AU) | |
FAPESP's process: | 12/05268-9 - Meanwhile, in Sao Paulo ...: at the time of Cinema Novo, a Sao Paulo´s cinema at an "in-between" place |
Grantee: | Caroline Gomes Leme |
Support Opportunities: | Scholarships in Brazil - Doctorate |