While Brazil throbs and twitches to forced injections of disco music, Americans know only those Brazilian musicians who happen to wind up in the United States - Astrud Gilberto, Deodato, Sergio Mendes, Flora Purim - while remaining unaware of music which is more typically, and perhaps more authentically, Brazilian. Thus while Brazilians are inundated with North American cultural products - from Kojak to STAR WARS to Portnoy's Complaint - Americans receive precious little of the vast Brazilian cultural production. The existing global distribution of economic and political power makes the First World nations of the capitalist West "transmitters" while it reduces the Third World nations of Africa, Asia and Latin America to receivers. The lack of awareness in the United States concerning Brazilian Cinema and Brazilian culture derives, we feel, from a solid and documentable reality - cultural neo-colonialism. We are aware, at the same time, that relatively few North Americans have seen Brazilian films, and therefore lack the grounding to either share or reject our enthusiasm. The golden age of Brazilian Cinema, he predicts, will arrive in the eighties, when these talents flower and Brazil completes the task, now well under way, of wresting its own market from foreign domination. Arnaldo Jabor, whose TUDO BEM (ALL'S WELL, 1978) won first prize at the Brasilia Film Festival last July, counts at least twenty filmmakers of indisputable talent. While Cinema Novo's original practitioners - Glauber Rocha, Nelson Pereira dos Santos, Rui Guerra, Carlos Diegues, Joaquin Pedro de Andrade, and Leon Hirszman - remain active, even prolific, they now form but a small part of a burgeoning national cinema.
Beyond Cinema Novo by Robert Stam and Randal Johnson JUMP CUTĬopyright Jump Cut: A Review of Contemporary Media, 1979, 2005īrazilian Cinema, we are convinced, is one of the most culturally vital, formally innovative, and politically progressive cinemas in the world today.
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