Amácio Mazzaropi in the Film and Culture of Brazil: After by Eva Paulino Bueno (auth.) PDF

By Eva Paulino Bueno (auth.)

ISBN-10: 1137009195

ISBN-13: 9781137009197

ISBN-10: 1349435996

ISBN-13: 9781349435999

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When the robots, which were programmed to recognize him, attack him as if he were an intruder, it is clear that even for the machines he has lost his fundamental identity. 32 ● Amácio Mazzaropi in the Film and Culture of Brazil Izidoro’ s adventures in Sai da frente and Nadando em dinheiro dramatize the imbalance produced by the abrupt contact with a capitalist mode of production and consumption. Izidoro, even though not presented as a peasant, is nevertheless a man living on the fringes of the capitalist society, and at the time these two films were made, the poorer neighborhoods of the major Brazilian cities were becoming increasingly bloated with the peasants who were, like Izidoro, in search of a piece of the new Brazil.

Arlindo is then put in prison. Arlindo is put in a cell with an effeminate man who wants the used doll he has bought for his daughter. Arlindo fights with this man and with a strong black man who wants to force him to give the doll to his cell companion. Finally, with the help of a group of shoeshiners, everything is clarified, the police arrest the criminals; Arlindo is set free. To acknowledge Arlindo’s help in capturing the gang, the police chief offers him a job as custodian. When Arlindo realizes that if he accepts his offer he would have to work every day, he refuses the job.

Unlike other filmmakers, he did not have a formal education; his knowledge of acting came from direct contact with the public; his knowledge of the country he represented on the screens came not from books, but from his travels and from his experience in the circus, in the radio, and in cinema. Furthermore, the genre he used, comedy, can be taken as being superficial, not interested in serious subjects. Finally, he did not search the company of other filmmakers, but instead preferred neither to obtain official financial help nor to accept opinions about his work.

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Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo by Eva Paulino Bueno (auth.)

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Amácio Mazzaropi in the Film and Culture of Brazil: After by Eva Paulino Bueno (auth.) PDF
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