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Brand new Book. In the first comprehensive study of Italian cinema from , Pierre Sorlin explores the changing relationship of Italian cinema and Italian society and asks whether the national cinema really does represent Italian interests and culture. Seller Inventory AAV Book Description Routledge , Brand new book, sourced directly from publisher.
Dispatch time is working days from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely. Condition: NEW. Film festivals, whether they called themselves international or not, were at the epicenter of the various circulations, exchanges, and tensions that fueled the economic and cultural development of the Cold War. In the early s, however, the juries of the festival started recognizing other cinemas from around the world.
Brazilian films were the first to achieve a sustained interest during that decade. In this instance, it is possible to see the processes of inclusion and exclusion that national cinemas will undergo in order to be part of a national canon. Liz Czach explains: "Selection decisions made regarding the canon sometimes correspond strongly with the kind of evaluative judgments made in programming" Czach I begin this article by tracing the characteristics of the Berlin International Film Festival within the circuit of European film festivals and the politics of the early s that created the conditions for an interest in Brazilian cinema.
Initially, European film festivals were conceived as showcases for the arts, but they also had political roles that transcended the realm of culture. The Biennale of Venice, which first took place in , consisted of an exhibition of international films, but later became a forum that was coopted by Fascist and Nazi ideologues.
The first Cannes Film Festival took place briefly—for only 48 hours— in September , but was then interrupted by the initial hostilities of World War II. Relaunched in , it constituted an opportunity to inject vitality into southern France. Despite the financial difficulties of the first post-war years, the Cannes Film Festival quickly became a major cultural event that attracted worldwide attention.
For its part, the Berlin International Film Festival also called the Berlinale benefited from the staunch support of American officer Oscar Martay who was instrumental in its creation. It began in as a means to rebuild a destroyed city and reestablish its cultural prominence Jacobsen Moreover, the Berlin International Film Festival was entrusted with the task of easing political tensions in a divided city in which the animosity of the Cold War was ubiquitous.
Thus, in addition to boosting Berlin as a cultural metropolis, the festival aimed to represent the values of freedom and democracy in the context of post Europe.
Its launch in the early s was greatly bolstered by the participation of Western European countries—England, Ireland, Switzerland, and Spain—and others, such as Australia and the United States Jacobsen The first decade of the Berlin International Film Festival was full of challenges. First, funding and support for the festival came from the occupying nations of West Berlin — the United States, Britain, and France Jacobsen Second, the festival faced a lengthy process of recognition. A year later, the festival became a permanent event—until then the Berlin senate had to pass annual approvals for its continuity—, and in , it was officially recognized as an A film festival, joining Venice and Cannes.
The promotion of Berlin to a world-class film festival encouraged new investments in infrastructure: the festival was held in a state-of-the art venue, the Zoo Palast, composed of two movie theatres.
Brazilian Cinema at the Berlin International Film Festival
Third, several features of the Berlin International Film Festival underwent changes during the first decade. Prizes were first awarded by a German jury in , then by the audience from , and finally from onwards again by an international jury of seven or nine members. This development was a consequence of changing conditions both in Berlin and in world cinemas. In the early s, political events in Berlin and around the world dramatically changed the global landscape.
A consequence of this rift was an increased awareness in domestic and foreign policy on the part of West Berliners. This politicization fostered an interest in Third World countries that provided an opening at the Berlin International Film Festival for Latin American films in general and Brazilian films in particular.
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The Cuban Revolution, the war in Vietnam, and the decolonization process in Africa, were all political occurrences that nuanced the East-West concern of West Berliners and also impacted the function of the film festival. Moreover, the arrival of numerous students from Africa, Asia, and Latin America contributed to a better understanding of Third World politics among students and New Left sympathizers Slobodian 4.
This engagement of West Berliners with the Third World, which took place as a result of the tensions between West and East—First and Second World, respectively—, transcended the political field and impacted the cultural realm. These changes were also felt by the organizers of the Berlin International Film Festival. While Latin American directors, actors, and producers had participated as members of the international jury of the Berlin International Film Festival since , the fact that in the early s there was a general atmosphere more receptive to new political ideas and the plight of Third World countries in West Berlin may have contributed to the positive reception of Brazilian films.
A key player in the promotion of Brazilian films at the Berlin International Film Festival was the co-founder of the Forum, Peter Schumann, who ran special exhibitions of Latin American films from the s until his retirement in The director whose Brazilian films were first recognized at the Berlin International Film Festival was Ruy Guerra , who was born in Mozambique and after studying cinema in Paris, migrated to Brazil in the late s.
In the early s, Brazil adopted a more open brand of foreign policy. Among the countries that saw a more solid relationships with Brazil was the Federal German Republic Lobhaur Spectators tended to support the film.
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The advent of 'Cinema Novo' in Brazil marked a break with old ways of making and distributing film in Brazil. As 'chanchadas' were linked to a studio system that duplicated Hollywood productions, 'Cinema Novo' embraced independent filmmaking with a focus on the socio-economic problems affecting Brazil. Some of these films relied on loans made by banks, while others were financed by a tax levied on performances and were regulated by a law to help cinema.
Both issues resonated with the zeitgeist in West Berlin, where important developments were taking place. Ten months before its opening in , during a single night, a wall was erected around Berlin, separating the East from the West. For more detail, please see below, and select the shipping option that is most convenient for you.
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