Cinema Novo

At the Cinema Novo, the "New Cinema " is a film direction that has emerged in the late 1950s in Brazil. A similar trend in the music that originated at the same time in Brazil is called Tropicalia. The Cinema Novo is a counter-movement to Hollywood cinema of the 1950s that dominated the Brazilian film market at this time. Objectives of the Cinema Novo are the fight against the overwhelming power of the U.S. film, the reflection on national traditions, an authentic expression, criticism of social injustice and the cinematic dialogue with the people. The Novo Cinema originated in Portugal then under the same principles. The most important representative of the Cinema Novo is the director and filmmaker Glauber Rocha (no relation to the Portuguese Cinema Novo director Paulo Rocha ).

Division of the Cinema Novo in three phases

The Cinema Novo can be divided into three phases. In the first phase (1954 - 1964) Nelson Pereira dos Santos has established itself as the spiritual father of the Cinema Novo. The aim of his films Rio 40 Graus ( 1955) and Vidas Secas (1963 ) is the vibration of the spectators on the Brazilian reality. His films are strongly influenced by the Italian neo-realism, as his performers are all laymen.

In the second phase of Cinema Novo 1964-1968 filmed the Brazilian director and filmmaker Glauber Rocha, the most important representative of the Brazilian Cinema Novo, va impoverished people in the north of the country. His documentary mystical films of this phase are difficult to understand and are directed against the commercial cinema of Brazil and the United States. Important films Glauber Rochas Deus eo during this era, diabo na terra do sol (1964) and Terra em transe (1967 )

1965 written Glauber Rocha its theoretical concept of the Brazilian Cinema Novo " Uma Estética Fome ". In this he notes, among other things, that the Latin American and his misery, neither the civilized Europeans communicated, nor that this will really understand it. In addition, the greatest originality of Latin Americans of hunger, their greatest misery is, however, that this hungry feeling, but it is not understood intellectually. From the Cinema Novo, one should learn that an aesthetic of violence is revolutionary before it is primitive.

In the last phase of Cinema Novo von 1968 - 1972 is the so-called cannibalistic - Tropikalistische phase. Glauber Rocha turned in this time the film Antônio das Mortes (1969 ), which tells the story of a revolt against the oppression and represents Brazilian folk festivals and rites. Another important film of the cannibalistic - Tropikalistischen phase of Cinema Novos is Joaquim Pedro de Andrade's film Macunaíma of 1969. It tells the story of a Brazilian who is eaten by Brazil.

The late 1970s, Glauber Rocha, the Cinema Novo explained due to political repression for dead