The Aesthetics of Garbage, Part 1 can be found here.
Above: O insigne ficante (The Inisg Nificant, 1980).
“Make films to occupy run down, low class theatres and be subsequently forgotten” —Rogério Sganzerla
One of the quintessential traits of Cinema Novo was the firm rejection of anything Hollywood; films like The Red Light Bandit and O pornógrafo (The Ponographer, 1970) by João Callegaro on the contrary, eagerly cannibalized popular American culture. Cultural appropriation is manifest throughout Callegaro's film, which openly references noir flicks whose aesthetic codes and conventions are borrowed and subverted by the director. While retaining an unmistakable Brazilian flavour these films openly boast their spoofy hybridism, combining high and low culture at a time when the term post-modernism had yet to be coined. True inheritors of Oswald De Andrade’s Anthropophagic Manifesto, these were metropolitan indians suffocated by the orthodox traditionalism of the left on one side and by an increasingly oppressive regime on the other.
Above: O insigne ficante (The Inisg Nificant, 1980).
“Make films to occupy run down, low class theatres and be subsequently forgotten” —Rogério Sganzerla
One of the quintessential traits of Cinema Novo was the firm rejection of anything Hollywood; films like The Red Light Bandit and O pornógrafo (The Ponographer, 1970) by João Callegaro on the contrary, eagerly cannibalized popular American culture. Cultural appropriation is manifest throughout Callegaro's film, which openly references noir flicks whose aesthetic codes and conventions are borrowed and subverted by the director. While retaining an unmistakable Brazilian flavour these films openly boast their spoofy hybridism, combining high and low culture at a time when the term post-modernism had yet to be coined. True inheritors of Oswald De Andrade’s Anthropophagic Manifesto, these were metropolitan indians suffocated by the orthodox traditionalism of the left on one side and by an increasingly oppressive regime on the other.
- 2/28/2012
- MUBI
Hot off the virtual presses: "In the Signals section's theme program The Mouth of Garbage: Sub Culture and Sex in São Paulo, the International Film Festival Rotterdam (Iffr) will present a vast panorama of features and shorts from São Paulo's so-called 'Boca do Lixo' (Mouth of Garbage), the nickname for the working class neighborhood in the center of the Brazilian metropolis. These quick and dirty productions frequently highlighted the sleazy underbelly of Brazilian society using established genres such as noir, horror, the western, and pornography."
So far, the lineup ranges from Ozualdo Candeias's The Margin (1967) through Jean Garret's Fuk Fuk Brazilian Style (1986) and includes work from the years in between by João Callegaro, João S Trevisan, Jairo Ferreira, Carlos Reichenbach, Ody Fraga and Cláudio Cunha, whose Oh! Rebuceteio (1984) Fernando F Croce reviewed some time back: "A sort of mix of Bob Fosse and Wilhelm Reich, Cunha...
So far, the lineup ranges from Ozualdo Candeias's The Margin (1967) through Jean Garret's Fuk Fuk Brazilian Style (1986) and includes work from the years in between by João Callegaro, João S Trevisan, Jairo Ferreira, Carlos Reichenbach, Ody Fraga and Cláudio Cunha, whose Oh! Rebuceteio (1984) Fernando F Croce reviewed some time back: "A sort of mix of Bob Fosse and Wilhelm Reich, Cunha...
- 12/9/2011
- MUBI
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