in Popular cinema in Brazil, 1930–2001
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Popular film in Brazil has historically been characterised by a city-countryside dialectic, to give just one example. This conclusion presents some closing thoughts on the concepts discussed in the previous chapters of this book. The study presented has established the multiple roots of commercially successful cinema in Brazilian popular culture, such as the teatro de revista, the circus and carnival. The chanchada, from its inception in the 1930s, harked back to a pre-industrial era, rejecting modernity and urbanisation in favour of the nostalgic assertion of traditional values of friendship, camaraderie, neighbourliness and a community lifestyle typical of rural regions or the poor suburbs of the big cities of the South. In popular film, the precarious and fragmented nature of everyday life for the poor is mirrored in the constant interplay between fantasy and reality, carnival interludes and the daily grind.


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