Simply put, Carlos Adriano’s A Voz e o Vazio: A Vez de Vassourinha (1998) stands in the ranks as one of the most important experimental works of cinema to come out of Brazil in the last 25 years. Tr&234 s jogos (Godoy Cruz x Palmeiras, River Plate x Cruzeiro e LDU x Olimpia) abrem as oitavas de final da principal competi&231 &227 o interclubes da Am&233 rica do Sul. Nesses dois meses de paralisa&231 &227 o, muita coisa aconteceu com os 16 times que continuam na briga pelo trof&233 u e pela vaga no Mundial. Bauru, itapetininga, rio preto e sorocabaSporting X Mar&237 timo : Saiba onde assistir &224 partida - Futebol. Jogos ao Minuto - Maisfutebol.
Somente Os Gols Do Fla X Vas Ate 2017 Archive With AnVassourinha is thus not an act of mourning, but one of resurrection, where Adriano imbues these images and sounds with renewed life through montage, arranged under the twin poles of cinema and samba.We are still catching up with Zózimo Bulbul’s Abolição. A very popular musician in his own time, Vassourinha fell victim to what many have described as Brazil’s short cultural memory, as he became quickly forgotten after his passing. Vassourinha approaches the question of the archive with an opposite methodology, collecting and projecting as many different materials centered around one figure as Adriano could find, to compose a work that intensely reconstructs the short period of time lived by Mário de Oliveira Ramos, the sambista known as Vassourinha prior to his death in 1942 at the age of 19.As these figures add to the dialogue of what it means to be Black while living in Brazil towards the end of the 20th century, the film cuts to images of homeless living on the streets in hunger, maintaining the viewer’s focus on the message at the core of the film: society continues to suppress Black lives from anything more than subsistence through racist oppression. In Abolição, there are interviews with key icons from the Black Brazilian community, such as Abdias do Nascimento, Lélia Gonzalez, Carlos Medeiros, Beatriz Nascimento, Grande Otelo, Joel Rufino dos Santos and Benedita da Silva. No facet of Brazilian life escapes Bulbul’s expository camera, as he explores the ways in which racism is prevalent within sports, academia, history, the beaches of Rio, religious practices, the film industry, politics, and every other facet of social life. Director Zózimo Bulbul and his nearly all-Black film crew travel throughout Brazil exploring the remaining traces of colonialism and the ever-present existence of racism that was to be found throughout the country. Abolição seeks to point out that the Lei Áurea was, in the words of Marcell Carrasco, “a farcical scam”.Luis Rocha Melo and Estevão Garcia’s Que cavação é essa? provides that much needed tone of humor towards a situation that, especially as of late, has been without much hope. It is nonetheless vital for us to watch the film as it is, discuss its ideas, and disseminate the work to as many people as possible, so that those with the ability to do so will provide Abolição with the high-quality scan and translation that it truly deserves.Sometimes in life, when things are looking completely hopeless, we just have to throw up our hands and laugh. Abolição is one of the most important Brazilian documentary films ever made, and it surely deserves better than what you will see below. The low-resolution copy, as any viewer will quickly realize, does not adequately represent the beautiful images that were present during the few screenings it had prior to being shelved by Brazilian production company Embrafilme due to their lack of support for the project, nor does it reflect what we would see today if the film were properly restored.But despite the film’s silly voice-over and the subtle play acting of Hernani, his words remain heartbreaking factual: “More than 90% of the films made in this era are lost…If today people are still extremely unaware of Brazilian Cinema’s early film history, in 20, 30, 40, 50 years’ time, people will be completely unaware of our contemporary cinema”. All with a tone of utmost silliness, this ‘documentary’ delves into the “heroic and brave” lifestyle of film preservationists, featuring none-other than the current Director of the Cinemateca do MAM, Hernani Heffner. The film then turns, perhaps as a viewer would with a DVD extra, to another documentary about Brazilian film preservation and restoration. The film opens with a perfectly staged (ironic) take on a Brazilian silent-era lifestyle film, a work which we’re told to believe is a newly restored revelation from Brazil’s silent era. Que cavação é essa? might be described as a spoof-film or it might be described as a mockumentary, but regardless, the result of watching the film is to become greatly aware of what were some of the key issues facing Brazilian film preservation in 2008 (most of which unsurprisingly still persist today). Download of osx lion for windowsHowever, the fact that Nitarto could easily pass off as a film made about the situation of the Cinemateca Brasileira in 2020 speaks volumes about the current Brazilian government’s inability to learn from previous negligences related to the institution. Watching Nitrato today should feel like a blast to the past, and the Cinemateca Brasileira should still be operating as one of the most efficient film archives in Latin America. The film also brings forth the voices of numerous scholars, archivists, and filmmakers to weigh in on the historical importance of the Cinemateca Brasileira and its lack of governmental support (the archive only became recognized as a government institution in 1984). Nitrato portrays harrowing images of nitrate reels burning, the façade of the Cinemateca Brasileira cracking and breaking away, and archival papers standing aside bathroom urinals, reflecting the desperate state Brazilian archivists were in 1974 to preserve and maintain film collections. One would hope that governmental inaction placing a country’s entire filmographic history in jeopardy of destruction would be unprecedented, however Alain Fresnot’s 1974 documentary film Nitrato helps us realize that the Cinemateca Brasileira has always existed on the brink of extinction. For some, Que cavação é essa? might provide a similar emotional rollercoaster, but there’s no denying how good it sometimes feels to be able to laugh, even if just for a little while.As we enter October 2020, the months-long crisis of Brazil’s largest film archive, the Cinemateca Brasileira, continues. ![]() Unfortunately, today, few copies of these Brazilian pornographic films exist on film anymore. But these films were later rediscovered by a new generation of Brazilian cinephiles on the TV station Canal Brasil. While these films were very popular in the cinemas, they were not as popular among critics and academics, who overlooked their many aesthetic achievements and ideological rebelliousness. There was a whole demographic who weren’t specifically interested in other genres of Brazilian cinema, but were rather interested in going to the theater to see pornos. Therefore, it is impossible to completely understand the history of Brazilian Cinema without having access to these films. Bonzi buddy download for androidI feel attracted to them,” claims the voiceover in the film. “People generally avoid these images. Faro, like many Brazilian cinephiles, critics, and academics today, is an unabashed fan of Brazilian erotic and pornographic films. Filmmaker João Pedro Faro’s new video-piece Cripta I plunges into that pixelated existence. Therefore, some VHS copies of these films have become preservation elements, and the titles are stuck in a pixelated existence until they one day fade away altogether.
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