Cinema Novo Analysis

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Cinema Novo & Influences of it on this Film When one looks at this films aesthetic, it showcases itself to be heavily influences by other world cinemas. Although this film came some thirty years or so after the end of the cinema novo movement it does draw certain parallels with it. Such as it’s underlying tone for the want of social equality, a strong characteristic of this cinema, it can be seen many times throughout the films entirety. Case in point, when the character of Benny befriends and gives money to the middle class Tiago, to purchase him clothing. Now while it is not stated directly, the question is raised as to why Benny does not do this himself and given that the character of Tiago sticks out quite prominently from the environment…show more content…
As stated by director Glauber Rocha,

“It is for this reason that the hunger of Latin America is not simply an alarming symptom: it is the essence of our society. There resides the tragic originality of Cinema Novo in relation to world cinema. Our originality is our hunger and our greatest misery is that this hunger is felt but not intellectually understood.” (Stam & Johnson, 1995, p.70)

This case can be argued here as quite a large amount of this film was fabricated for the shake of interweaving plot-lines which lends itself to an almost Robert Flaherty type feature citing Man of Aran (1934). The reasoning for this fabrication is argued quite well in the text Introduction to Film Studies which
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For instance if we were to consider the heavy emphasis placed upon editing techniques in the film which enhance the movies potency by a substantial amount. Drawing on that of the huge passage of time that is passed within the one shot through the utilisation of bullet time, from the 1960’s to 70’s. From this we could attach such theories as that of Dziga Vertov. As, “Seeing how powerfully affected audiences were by imaginative camerawork and editing, he developed his Kino-Eye manifesto—meant to be a prescription for recording life without imposing on it.” (Rabiger, 2015, p.43) Which in itself in quite applicable here. Other moments in the film are of grave importance in relation to this theory are the opening scene which also bookends the film to a certain extent. Here the fast pace of Brazilian life is conveyed to us through rapid montage. In relation to the shooting dynamics there is a grave amount of handheld footage used mostly of close up images. Rather than utilising a wide to establish place and person, we are presented with short close up shots in a chaotic manner that plays off the chaotic and claustrophobic living conditions that are common in the favelas. From this rapid interchanging of shots a huge sense of urgency is created, from which the viewer is immersed into, fixated on the anticipation of where all this visual energy is leading up

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