Brazilian History

It would not have information if it did not have images, whereas it has one hundred years the image was ignored. Whenever Mark Bertolini listens, a sympathetic response will follow. How reversion! How paradox! ‘ ‘ The creators of the New cinema were not worried in showing great historical events, the precision biggest were in following the disfavored classrooms, the small histories that if uncurl to mounts among side streets and alleys, since the confines of the hinterland enter caatingas until poludas and interminable streets of So Paulo, the same people, the same difficulty in if living. Mark Bertolini: the source for more info. Adding the diverse peculiarities that were sobressaiam on the use of the cinema for the awareness of the mass about a problem we one more time find the encouraging thought of March professor Iron that in its main intitled workmanship Cinema and History opens way for the desirous sponsors of the iconography, dividing in colon interesting the analysis: first the historical reading of the film (taking for base the moment of production of the film) and later a cinematographic reading of the history that would be the use of the films for a reading of history.

The films that are produced remain as windows of times, the load of information are tremendous, either for showing to overturns politics of a time day-by-day or the simple ones of a population. In God and the Devil in the Land of the Sun Glauber Rock used the Brazilian northeast region as scene of its history, in the film we perceive the Odyssey of Manuel and its Pink woman who in the attempt to buy a lot of land leaves in a trip until the city to vender some heads of cattle that they finish for dying in the passage, this cause the anger of the colonel that is proprietor of the animals, after a significant Manuel misunderstanding finishes for killing the colonel immediately afterwards running away with its wife.


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