The Theory of Brazilian Cinema: The Filmmakers Speak
p. 53
For a Popular Revolutionary Art
p. 58
Cinema Novo
p. 64
An Esthetic of Hunger
p. 68
Criticism and Self-Criticism
p. 72
The Tricontinental Filmmaker: That Is Called the Dawn
p. 76
Cannibalism and Self-Cannibalism
p. 81
Everybody's Woman
p. 84
From the Drought to the Palm Trees
p. 86
The Luz e Acao Manifesto
p. 90
Toward a Common Market of Portuguese- and Spanish-Speaking Countries
p. 93
Popular Cinema and the State: Two Views
p. 98
Embrafilme: Present Problems and Future Possibilities
p. 104
Jack Valenti's Brazilian Agenda
p. 109
Cinema Novo and Beyond: The Films
p. 115
The Cinema of Hunger: Nelson Pereira dos Santos's Vidas Secas
p. 120
Cinema and The Guns
p. 128
Black God, White Devil: The Representation of History
p. 134
Land in Anguish
p. 149
Hunger for Love
p. 162
Antonio das Mortes
p. 169
Cinema Novo and Cannibalism: Macunaima
p. 178
How Tasty Was My Little Frenchman
p. 191
Sao Bernardo: Property and the Personality
p. 200
Lesson of Love
p. 208
Carnivalesque Celebration in Xica da Silva
p. 216
Tent of Miracles
p. 225
Formal Innovation and Radical Critique in The Fall
p. 234
Special Topics and Polemics
p. 241
Cinema: A Trajectory within Underdevelopment
p. 244
From High Noon to Jaws: Carnival and Parody in Brazilian Cinema
p. 256
Vera Cruz: A Brazilian Hollywood
p. 270
Trajectory of an Oscillation
p. 281
Alma Brasileira: Music in the Films of Glauber Rocha
p. 290
On the Margins: Brazilian Avant-Garde Cinema
p. 306
Seeing, Hearing, Filming: Notes on the Brazilian Documentary
p. 328
When Women Film
p. 340
Hollywood Looks at Brazil: From Carmen Miranda to Moonraker
p. 351
The Rise and Fall of Brazilian Cinema, 1960-1990
p. 362
The Shape of Brazilian Cinema in the Postmodern Age
p. 387
The Contributors
p. 473
Index
p. 477
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