Towards an Intermedial History of Brazilian Cinema / / ed. by Lúcia Nagib.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2022
• MitwirkendeR: Adamatti, Margarida Maria,; Beugnet, Martine,; Butler, Alison,; Cesarino Costa, Flávia,; Christie, Ian,; Corrêa de Araújo, Luciana,; Elduque, Albert,; Lins, Consuelo,; Lira de Sousa, Ramayana,; Luca, Tiago de,; Luna Freire, Rafael de,; Nagib, Lúcia,; Paiva, Samuel,; Procopio Furtado, Gustavo,; Reck Miranda, Suzana,; Soares Brandão, Alessandra,; Solomon, Stefan,; Suppia, Alfredo,; Vieira, João Luiz,; Xavier, Ismail,
• HerausgeberIn: Nagib, Lúcia ,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2022
• Year of Publication: 2022
• Language: English
• Series: Edinburgh Studies in Film and Intermediality : ESFI
• Physical Description: 1 online resource (384 p.) :; 76 B/W illustrations 1 B/W tables 77 B&W illustrations
• Other title: Frontmatter --; Contents --; List of Figures --; The Contributors --; Acknowledgements --; Introduction --; Part I Intervisuality --; 1 Traffic in Images: Visual Spectacle before Cinema in Brazil --; 2 Intermedial Landscapes in the Work of Cao Guimarães --; 3 ‘The most innocent film of the year’: Comic Books, Sex and Cinema Marginal --; 4 Photographs of the Invisible: Intermedial Figurations of Social Exclusion in Babás and Aquarius --; 5 Exploring the Cinematic Imaginary: Carlos Adriano, André Parente and the Precision of the Vague --; Part II The Empire of Music --; 6 Watson Macedo’s Aviso aos navegantes (1950): Reflections on the Musical Numbers of a Brazilian Chanchada --; 7 (In)Visible Musicians: Supporting Instrumentalists and their Intermedial Vocation --; 8 Music-video Aesthetics in Pernambucan Cinema --; 9 Possessing Archival Images: Ghosts, Songs and Films in Cartola – música para os olhos (2007) --; Part III Entertainment Circuits --; 10 Intermediality in Brazilian Silent Cinema: Luiz de Barros’s Works and Intermedial Strategies --; 11 ‘Synchronised Film Fever’ amid the ‘Gramophonoradiomania’: Record, Radio and Cinema at the Dawn of the ‘Talkies’ in Rio de Janeiro --; 12 The Singer, the Acrobats and the Bands: A Study of Three Brazilian Films and their Intermedial Characters --; 13 Gilda de Abreu’s O Ébrio as a Unique Intermedial Project --; 14 Chanchada, Samba and Beyond: From the Cinema of Radio to the Cinema of Television (1930s–1960s) --; Part IV From Impure Cinema to Cosmopoetics --; 15 Impure Cinema as Method: The Last Films of Eduardo Coutinho --; 16 Queering Intermediality in Brazilian Cinema --; 17 The Humiliation of the Father: Theatrical Melodrama and Cinema Novo’s Critique of Conservative Modernisation --; 18 Intermedial Territories: Maps and the Amazonian Moving Image --; 19 An Intermedial Reading of Glauber Rocha’s Cosmogony --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474453004; 9783110992809; 9783110992816; 9783110993899; 9783110994810; 9783110780390
• DOI: 10.1515/9781474453004
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Lúcia Nagib.

Presents a new history of Brazilian Cinema, based on its dialogue with other arts and mediaLaunches an entirely new historiographic method, drawing on intermediality in order to reconstruct the history of a national cinemaUnveils the multimedia and polymathic wealth behind the various historical periods in Brazilian cinemaProvides an overarching historical coverage of Brazilian cinema, through an innovative approach that connects different periods in Brazilian film history through the multiple art and media forms interwoven in themProposes that different phases of a national cinema can be framed as comparable and interrelated phenomena, rather than relying on evolutionary chronologies and classical-modern or centre-periphery modelsExplores new ways of understanding Brazilian film history, and the history of cinema in generalFrom its inception, Brazilian cinema has combined extra-filmic artistic and cultural forms, both local and imported, resulting in an original aesthetic blend. Theatre, dance, music, circus, radio, television and the plastic arts left a distinctive mark on Brazilian cinema’s poetics and politics, as can be observed in a host of fascinating phenomena analysed in this book, including: the film prologues that connected the screen to the stage in the 1920s; the chanchada musical comedies, inflected by vaudeville theatre and the radio; the manguebeat and árido movie movements that blurred the boundaries between music and film; and contemporary multimedia installations and other experiments. By adopting intermediality as a historiographic method, this book reconstructs the history and cultural wealth behind filmic expressions in Brazilian cinema.