Best known to international audiences for its carnivalesque irreverence and recent gangster blockbusters, Brazilian cinema is gaining prominence with critics, at global film festivals and on DVD shelves. This volume seeks to introduce newcomers to Brazilian cinema and to offer valuable insights to those already well versed in the topic. It brings into sharp focus some of the most important movements, genres and themes from across the eras of Brazilian cinema, from cinema novo to musical chanchada, the road movie to cinema de bordas, avant-garde to pornochanchada. Delving deep beyond the surface of cinema, the volume also addresses key themes such as gender, indigenous and diasporic communities and Afro-Brazilian identity. Situating Brazilian cinema within the country's changing position in the global capitalist system, the essays consider uneven modernization, class division, dictatorship, liberation struggles and globalization alongside questions of entertainment and artistic innovation.

Best known to international audiences for its carnivalesque irreverence and recent gangster blockbusters, Brazilian cinema is gaining prominence with critics, at global film festivals, and on DVD shelves. This volume seeks to introduce newcomers to Brazilian cinema and to offer valuable insights to those already well-versed in the topic. Best known to international audiences for its carnivalesque irreverence and recent gangster blockbusters, Brazilian cinema is gaining prominence with critics, at global film festivals, and on DVD shelves. This volume seeks to introduce newcomers to Brazilian cinema and to offer valuable insights to those already well-versed in the topic. It brings into sharp focus some of the most important movements, genres, and themes from across the eras of Brazilian cinema, from cinema novo to musical chanchada, the road movie to cinema de bordas, avant-garde to pornochanchada. Delving deep beyond the surface of cinema, the volume also addresses key themes such as gender, indigenous and diasporic communities, and Afro-Brazilian identity. Situating Brazilian cinema within the country's changing position in the global capitalist system, the essays consider uneven modernization, class division, dictatorship, liberation struggles, and globalization alongside questions of entertainment and of artistic innovation.

This book examines how Gilberto Freyre's notion of mestiçagem (race mixing) became the overwhelmingly dominant narrative of national identity in twentieth-century Brazil. It will be of interest to scholars and students interested in Brazil, Latin America, race, nationalism, national identity, and popular culture.

Many South American films that use the popular road movie format to examine regional culture and attitudes, especially in Argentina and Brazil. Pinazza performs a careful cultural analysis of the films and investigates how road movies deal with narratives on nationhood whilst simultaneously inserting themselves in a transnational dialogue.

São Paulo is the largest city in South America and the powerhouse of Brazil’s economy. A multi-racial metropolis with a diverse population of Asian, Arabic and European immigrants as well as migrants from other parts of Brazil, it is a global city with international reach. Films set in São Paulo often replace the postcard images of beautiful tropical beaches and laid-back lifestyles with working environments and the search for better opportunities. Bikinis and flip flops give way to urban subcultures, sport, entertainment and artistic movements. The ability to transcend national boundaries, and its resistance to stereotypical images of an 'exotic' Brazil, make São Paulo a fascinating location in which to explore Brazil’s changing economic and cultural landscapes.

This collection explores the emergence of new spatialities and subjectivities in Brazilian films produced from the 1990s onwards, a period that became known as the retomada, but especially in the cinema of the new millennium. The chapters take spatiality as a powerful tool that can reveal aesthetic, political, social, and historical meanings of the cinematographic image instead of considering space as just a formal element of a film. From the rich cross-fertilization of different theories and disciplines, this edited collection engages with the connection between space and subjectivity in Brazilian cinema while raising new questions concerning spatiality and subjectivity in cinema and providing new models and tools for film analysis.

World Film Locations: Buenos Aires explores this picturesque and passionate city (the second-largest in South America) as a stage for sociopolitical transformations, and a key location in the international imagination as a site of cultural export. The book uncovers the many reasons why Buenos Aires attracts not only tourists but also artists and filmmakers, who explore the city and its iconography as well as its cultural and sociopolitical turbulence. A set of six essays anchors this volume; contributors consider a range of key topics related to the city onscreen, including tango, villas miseria (shantytowns), dictatorship and democracy, and science fiction and the future of the city. The volume is rounded out with in-depth reviews of nearly fifty key films—The Hour of the Furnaces, Nine Queens, and Evita among them—each illustrated by screen shots, current location imagery, and corresponding maps for travelers and movies buffs to use as they navigate this rich cinematic city.

Eschewing the postcolonial hubris that suggests Africa could only define itself in relation to its colonizers, a problem plaguing many studies published in the West on African cinema, this entry in the Directory of World Cinema series instead looks at African film as representing Africa for its own sake, values, and artistic choices. With a film industry divided by linguistic heritage, African directors do not have the luxury of producing comedies, thrillers, horror films, or even love stories, except perhaps as DVDs that do not travel far outside their country of production. Instead, African directors tend to cover serious sociopolitical ground, even under the cover of comedy, in the hopes of finding funds outside Africa. Contributors to this volume draw on filmic representations of the continent to consider the economic role of women, rural exodus, economic migration, refugees and diasporas, culture, religion and magic as well as representations of children, music, languages and symbols. A survey of national cinemas in one volume, Directory of World Cinema: Africa is a necessary addition to the bookshelf of any cinephile and world traveller.

The first monograph to examine Walter Salles’ The Motorcycle Diaries, this book explains the significance of Salles’ film with respect to the specific category of ‘youth culture’ as a historically and culturally situated concept. The Motorcycle Diaries looks at the film’s engagement with ‘emerging adulthood’, the importance of travel as a source of self-discovery, and the film’s impact on the iconicity of Che Guevara, the international emblem of a restless, rebellious youth. Combining insights from transnational film studies, tourism studies and affect theory, as well as drawing on extensive historical materials, this book provides not only a necessary addition to existing scholarship on this popular movie, but also an inspiring model for the analysis of film in relation to youth culture - a burgeoning field of interest in Latin American scholarship. It will interest any scholar in film studies, specifically transnational cinemas, global cinema, Latin American cinema, Latin American history, postcolonial studies, cultural studies, tourism studies and global politics. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

Remapping Brazilian Film Culture makes a significant contribution not only to debates about Brazilian national cinema, but more generally about the development of world cinema in the twenty-first century. This book charts the key features of Brazilian film culture of the first two decades of the twenty-first century, including: the latest cultural debates within Brazil on film funding and distribution practices; the impact of diversity politics on the Brazilian film industry; the reception and circulation of Brazilian films on the international film festival circuit; and the impact on cultural production of the sharp change in political direction at national level experienced post-2016. The principle of "remapping" here is based on a need to move on from potentially limiting concepts such as "the national", which can serve to unduly ghettoise a cinema, film industry and audience. The book argues that Brazilian film culture should be read as being part of a globally articulated film culture whose internal workings are necessarily distinctive and thus deserving of world cinema scholars’ attention. A blend of industry studies, audience reception and cultural studies, Remapping Brazilian Film Culture is a dynamic volume for students and researchers in film studies, particularly Brazilian, Latin American and world cinema. *Honorary Mention - Best Book in Humanities for the LASA Brazil Prize 2021*