FILM 2154 Lecture Notes - Lecture 11: Entranced Earth, Places In Harry Potter, Arturo Ripstein
Exam 3 Lecture 11: Spain & Latin American Cinema
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• Post WWII the major national cinemas continued to exist (Mexico, Spain, Argentina)
• Other countries had or developed smaller film industries (Cuba: Political after 1960, Peru,
Venezuela, etc.)
o Some have stronger local TV than film industries
• Hollywood dominates most cinema screens in Latin America
• Spain- during and after Franco
• Brazil- non-Spanish language but still in Latin America
Brazil
• Film industry exists since silent era: mostly local popular cinema. Not very exportable due to
language difference
• Cinema Novo- begins in 1960s; influenced by Neorealism and Nouvelle Vague
o Political science theme like slum life in cities, rural life on the frontiers
o Directors- Glauber Rocha, Ruy Guerra, Nelson Pereira dos Santos
• 1964 Military coup results in restrictions on freedom of expression; example Jose Mojica Marins
(Coffin Joe)- experimental exploitation filmmaker whose films run into government censorship in
late 60s-70s
o Cinema turned away from Novo and focused on commercial product like porno chanchadas
(softcore sex comedies) with movies like Doña Flor and Her Two Husbands, Bye Bye Brasil,
etc.
o Occasional more serious films about life in favelas such as Pixote (1980), City of God (2002-
2 Oscar nominations), and Elite Squad (2007).
• Glauber Rocha (1939-1981)- most notable director of Cinema Novo; created politically oriented
films and sought to portray misery, hunger, and violence caused by socio-economic-political factors
o Films suggested a need for revolution and often contained allegorical elements
o Went into exile in 1971 due to political repression
o Selected films- Black God, White Devil, Terra em Transe (1967), and A Idade da terra (1980)
Spain
• Cinema under Francisco Franco (1940-1975)- conservative content; aimed primarily at domestic
audiences
o Contained censorship no nudity, criticism of Church/Government, etc.
o Few directors/films of international interest in 40s-50s
▪ Luis Garcia Berlanga Bienvenido Mr. Marshal (1953)
▪ Juan Antonia Bardem
Muerte de un ciclista (1955)
o Many folkloric films and musicals with juvenile or teen protagonists
o Official state cinema school established in 1962 New directors were trained, including
some who were leftist and opposed to Franco (Carlos Saura)
o Many co-production shot in Spain (1950s-70s)
▪ Spagetti Westerns
▪ Samuel Bronston Epics- El Cid, 55 Days at Peking, etc.
▪ Gave work to Spanish performers and technicians
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Document Summary
Lecture 11: spain & latin american cinema: post wwii the major national cinemas continued to exist (mexico, spain, argentina, other countries had or developed smaller film industries (cuba: political after 1960, peru, Venezuela, etc. : some have stronger local tv than film industries, hollywood dominates most cinema screens in latin america, spain- during and after franco, brazil- non-spanish language but still in latin america. Brazil: film industry exists since silent era: mostly local popular cinema. Spain audiences: contained censorship no nudity, criticism of church/government, etc, few directors/films of international interest in 40s-50s. Mexico: 1940s most prominent latin america film producing company, loses some market to usa after wwii, some international art market with directors like luis bu el; must mostly domestic and. Latin american audience: 1960s very conservative industry; few new directors allowed. Toro (pan"s labyrinth, the shape of water), alfonso cuaron (t tu mama tambien, happy. Potter & the prisoner of azkaban, gravity: 2017 hollywood still dominated mexican film screens.
