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초록· 키워드
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During the period from 1955 to 1971, called as Cinema Novo, in the history of Brazilian Cinema, there was happening a something historical scene. It was the developmental policies of President Getulio Dornelles Vargas and, following this, President Juscelino Kunitschek’s policies which called ‘Plano de Metas’ which deepened the gap between the rich and the poor, while a number of Brazilians becoming poorer. Seeking fundamentally different aims from Chanchada, big-budget epics that imitated the style of Hollywood, Cinema Novo directly looked into such social realities. Considering Chanchada films as an object to be liquidated in the history of Brazilian cinema, the new cinema focused on screening the difficult situation. In addition to this, it also represented the public expectation of revolution and resistance against the reality. Thus, cinema was considered as a means of reformation and revolution. A typical example was Glauber Rocha’s famous motto, “an idea in one’s head and a camera in one’s hand.” Such ideas on filmmaking became the starting point for directors of Cinema Novo which made them to go beyond screening social problems and reach at class problems, which finally became a base for class conflict and revolution.
However, such characteristics were to be changed fundamentally by the 1964 Brazilian coup d’etat. The military regime prohibited all the political activities and controlled and censored all media and artistic activities. In such a situation, Cinema Novo circuitously explored crimes and irrationalities of contemporary Brazilian society rather than directly looked into as it did during the previous period. Moreover, it also questioned about Brazil’s national identity, the base of which were culture theories such as Cannibalism, Concretismo, and Tropicalismo that were manifested in the commemoration of the 100th anniversary of Brazil’s independence from Portugal. In this paper, I have attempted to show that Cinema Novo was formed throughout such various spectrums of contents and forms.
However, such characteristics were to be changed fundamentally by the 1964 Brazilian coup d’etat. The military regime prohibited all the political activities and controlled and censored all media and artistic activities. In such a situation, Cinema Novo circuitously explored crimes and irrationalities of contemporary Brazilian society rather than directly looked into as it did during the previous period. Moreover, it also questioned about Brazil’s national identity, the base of which were culture theories such as Cannibalism, Concretismo, and Tropicalismo that were manifested in the commemoration of the 100th anniversary of Brazil’s independence from Portugal. In this paper, I have attempted to show that Cinema Novo was formed throughout such various spectrums of contents and forms.
목차
1. 개발주의와 군부정권
2. 다양한 사회이론과 새로운 영화미학
3. 현실, 저항, 전복, 민족의 정체성
4. 맺음말
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Abstract
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UCI(KEPA) : I410-ECN-0101-2015-688-002799127