Cinema Novo x 5 : : Masters of Contemporary Brazilian Film / / Randal Johnson.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package Pre-2000
• VerfasserIn: Johnson, Randal,
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©1984
• Year of Publication: 2021
• Language: English
• Series: LLILAS Latin American Monograph Series
• Physical Description: 1 online resource (262 p.)
• Other title: Frontmatter --; Contents --; Plates --; Preface --; Introduction: Cinema Novo, the State, and Modern Brazilian Cinema --; 1. Joaquim Pedro de Andrade: The Poet of Satire --; 2. Carlos Diegues: Alegoria, Alegria --; 3. Ruy Guerra: Radical Critique --; 4. Glauber Rocha: Apocalypse and Resurrection --; 5. Nelson Pereira dos Santos: Toward a Popular Cinema --; Conclusion: Cinema Novo, a Retrospective --; Notes --; Filmography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781477304303; 9783110745351
• DOI: 10.7560/710900
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Randal Johnson.

With such stunning films as Dona Flor and Her Two Husbands, Bye Bye Brazil, and Pixote, Brazilian cinema achieved both critical acclaim and popular recognition in the 1970s and 1980s, becoming the premier cinema of Latin America and one of the largest film producers in the western world. But the success of Brazilian film at home and abroad came after many years of struggle by filmmakers determined to create a strong film industry in Brazil. At the forefront of this struggle were the filmmakers of Cinema Novo, the internationally acclaimed movement whose flowering in the 1960s marked the birth of modern Brazilian film. Cinema Novo x 5 places the success of Brazilian cinema in perspective by examining the films of the five leaders of this groundbreaking movement—Andrade, Diegues, Guerra, Rocha, and dos Santos. By exploring the individuality of these masters of contemporary Brazilian film, Randal Johnson reveals the astonishing stylistic and thematic diversity of Cinema Novo. His emphasis is on the films themselves, as well as their makers’ distinctive cinematic vision and views of what cinema should be and is. At the same time, he provides a wealth of valuable background information to enhance readers’ understanding of the historical, cultural, and economic context in which Cinema Novo was born and flourished.