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 21st 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.
About the Author
Stephanie Dennison is Professor of Brazilian Studies and directs the Centre for World Cinemas at the University of Leeds. She has published widely on both World Cinema and Brazilian film: she co-authored with Lisa Shaw Popular Cinema in Brazil (2004) and Brazilian National Cinema (2007).
Table of Contents
Introduction: Remapping Brazilian Film Culture in the Twenty-first Century
Chapter One: Making Films in Twenty-first-century Brazil
Chapter Two: Engaging With Audiences at Home and Abroad
Part One: Twenty-first-century Box-Office Phenomena
Part Two: The Circulation of Brazilian Films Abroad
Chapter Three: Women and Film Culture in Brazil
Chapter Four: Brazil’s LGBTQ Communities and Film Culture
Chapter Five: Afro-Brazilian Filmmaking in the Twenty-first Century
Chapter Six: Screening the Indigenous Experience in Brazil
Chapter Seven: Cinema and Public Security: The Elite Squad
Chapter Eight: Lúcia Murat’s Olhar Estrangeiro (2006) and the
representation of Brazil on Foreign Screens
Chapter Nine: Hope Springs From Rubbish: Trash (2014) and the
Chapter Ten: A Cordial View from Brazil’s North East: Kleber Mendonça Filho’s Aquarius (2016)