Maite Conde – författare

The Oxford Handbook of Brazilian Cinema brings together innovative chapters that address a wide range of topics relating to cinema and cinema culture in Brazil. Including chapters that focus on the reception and production of films and on how global trends in filmmaking have shaped Brazilian cinema's practices, this Handbook moves beyond a geographically specific notion of national cinema, to ask not what is Brazilian cinema but, rather, what is cinema in Brazil? This question is developed in three sections, “histories,” “spaces,” and “genres and media.” Chapters in the section “Histories” explore diverse trajectories of Brazilian film culture and practices, including film criticism, archival endeavours, black filmmaking and films made during the Covid pandemic. The impact of historical contexts is explored in a conversation with women filmmakers, which delves into the devastating effects of far-right president Jair Bolsonaro on production from a female perspective. The section “Spaces” reflects the geographic diversity of cinema in Brazil in chapters that depart from the dominant focus on Rio-São Paulo to examine films from marginalized spaces, including the Amazon and the predominantly non-white urban peripheries, and films that pay attention to queer spatial practices. The very space of filmic experience is examined in chapters focusing on movie theater architecture and the virtual spatiality of new media platforms. A conversation with black filmmakers in Brazil considers the historical condition of marginality as a productive space for filmmaking today. Chapters dealing with “Genres and Media” address questions of film form and style in essay films, horror movies, musical comedies (known as chanchadas) and art films, addressing in turn their connections to other forms of media and extra filmic forms. The section concludes with a conversation with indigenous filmmakers that reflects on how their audiovisual work disrupts generic representations of “Indigeneity” pervasive in Brazilian culture and media. Whilst providing a rich and broad coverage, this Handbook does not intend to present an encyclopaedic overview of Brazilian cinema. Moving beyond the singular “Brazilian cinema,” the objective is to examine cinematic histories, spaces and medias and genres as interpretive strategies for thinking about what cinema is in Brazil.

In her authoritative new book, Maite Conde introduces readers to the crucial early years of Brazilian cinema. Focusing on silent films released during the First Republic (1889-1930), Foundational Films explores how the medium became implicated in a larger project to transform Brazil into a modern nation. Analyzing an array of cinematic forms, from depictions of contemporary life and fan magazines, to experimental avant-garde productions, Conde demonstrates the distinct ways in which Brazil’s early film culture helped to project a new image of the country.

In her authoritative new book, Maite Conde introduces readers to the crucial early years of Brazilian cinema. Focusing on silent films released during the First Republic (1889-1930), Foundational Films explores how the medium became implicated in a larger project to transform Brazil into a modern nation. Analyzing an array of cinematic forms, from depictions of contemporary life and fan magazines, to experimental avant-garde productions, Conde demonstrates the distinct ways in which Brazil’s early film culture helped to project a new image of the country.

In her authoritative new book, Maite Conde introduces readers to the crucial early years of Brazilian cinema. Focusing on silent films released during the First Republic (1889-1930), Foundational Films explores how the medium became implicated in a larger project to transform Brazil into a modern nation. Analyzing an array of cinematic forms, from depictions of contemporary life and fan magazines, to experimental avant-garde productions, Conde demonstrates the distinct ways in which Brazil’s early film culture helped to project a new image of the country.

Consuming Visions explores the relationship between cinema and writing in early twentieth-century Brazil, focusing on how the new and foreign medium of film was consumed by a literary society in the throes of modernisation. Maite Conde places this relationship in the specific context of turn-of-the-century Rio de Janeiro, which underwent a radical transformation to a modern global city, becoming a concrete symbol of the country's broader processes of change and modernisation. Analysing an array of literary texts, from journalistic essays and popular women's novels to anarchist treatises and vaudeville plays, the author shows how the writers' encounters with the cinema were consistent with the significant changes taking place in the city.The arrival and initial development of the cinema in Brazil were part of the new urban landscape in which early Brazilian movies not only articulated the processes of the city's modernisation but also enabled new urban spectators - women, immigrants, a new working class, and a recently liberated slave population - to see, believe in, and participate in its future. In the process, these early movies challenged the power of the written word and of Brazilian writers, threatening the hegemonic function of writing that had traditionally forged the contours of the nation's cultural life. An emerging market of consumers of the new cultural phenomena - popular theatre, the department store, the factory, illustrated magazines - reflected changes that not only modernised literary production but also altered the very life and everyday urban experiences of the population. Consuming Visions is an ambitious and engaging examination of the ways in which mass culture can become an agent of intellectual and aesthetic transformation.

This volume explores the series of public protests – manifestações – that took place in a number of Brazilian cities in June and July 2013, when thousands of people took to the streets to demand improvements in urban infrastructures. Critically examines the role these protests played in politics, the political and their relationships to urban space and cultureAnalyses their connections to the emergence of a ‘New Right’ in Brazil, which saw the election of BolsonaroIncludes first-hand accounts and brings together contributions from both activists and scholars within a number of different fields (geography, history, philosophy, art, political economy)The first interdisciplinary English language anthology to address Brazil’s 2013 protests and the broader political and cultural questions they raiseA major contribution to Brazilian and Latin American Studies in Europe and the USA, as well as interdisciplinary studies of social movements, urban culture and politics

This volume explores the series of public protests – manifestações – that took place in a number of Brazilian cities in June and July 2013, when thousands of people took to the streets to demand improvements in urban infrastructures. Critically examines the role these protests played in politics, the political and their relationships to urban space and cultureAnalyses their connections to the emergence of a ‘New Right’ in Brazil, which saw the election of BolsonaroIncludes first-hand accounts and brings together contributions from both activists and scholars within a number of different fields (geography, history, philosophy, art, political economy)The first interdisciplinary English language anthology to address Brazil’s 2013 protests and the broader political and cultural questions they raiseA major contribution to Brazilian and Latin American Studies in Europe and the USA, as well as interdisciplinary studies of social movements, urban culture and politics

Paulo Emílio Salles Gomes (1916–77) is revered in Brazil as the first ardent defender, promoter and theorist of Brazilian cinema. A film professor, critic and historian, his dedication to cinema shaped a generation of influential film critics in his home country, and set the foundations for the serious study of film in Brazil. For the first time in English, this book brings together a selection of his essays for an English-speaking audience, with detailed explanatory introductions to each section for readers unfamiliar with the context of the writings of Salles Gomes.By blending together ruminations on global and national cinema, as well as avant-garde film and popular movies, the collection shows how the defence and promotion of a national cinema has been forged through dialogues with international trends, informed by commercial influences, and shaped by global and national political contexts. The book thus introduces readers to the international dimensions of Salles Gomes’s engagements with film, and in doing so reassesses the locatedness of his formulations on national cinema and signals their international dimensions.

Paulo Emílio Salles Gomes (1916–77) is revered in Brazil as the first ardent defender, promoter and theorist of Brazilian cinema. A film professor, critic and historian, his dedication to cinema shaped a generation of influential film critics in his home country, and set the foundations for the serious study of film in Brazil. For the first time in English, this book brings together a selection of his essays for an English-speaking audience, with detailed explanatory introductions to each section for readers unfamiliar with the context of the writings of Salles Gomes.By blending together ruminations on global and national cinema, as well as avant-garde film and popular movies, the collection shows how the defence and promotion of a national cinema has been forged through dialogues with international trends, informed by commercial influences, and shaped by global and national political contexts. The book thus introduces readers to the international dimensions of Salles Gomes’s engagements with film, and in doing so reassesses the locatedness of his formulations on national cinema and signals their international dimensions.