This book provides a chronological study of popular cinema in Brazil since the introduction of sound at the beginning of the 1930s. It begins the study with a brief discussion of how people understand the term 'popular cinema', particularly within a Latin American context. The focus is on films that have intentionally engaged with 'low-brow' cultural products, whose origins lie in pre-industrial traditions, and which have been enjoyed by wide sectors of the population, chiefly at the lower end of the social hierarchy. Perhaps the most important contribution of the chanchada of the 1950s was to render visible a social class within Brazil's socio-cultural landscape, and to champion the underdog, who succeeds in triumphing, through malandragem, over more powerful opponents. Brazilian popular cinema, at least until the 1980s, can be seen as a direct descendant of other shared cultural experiences. Popular film in Brazil is littered with examples of carnivalesque inversions of societal norms and established hierarchies. The 1930s witnessed the rise of the radio, the record industry and the talking cinema. The first half of the 1940s witnessed a continuation of Getúlio Vargas's quest for economic expansion based on the creation of a dignified workforce, rewarded for its efforts by improvements in the welfare system. The book also looks at three very popular cinematic sub-genres which provided a continuation of the chanchada tradition in Brazilian filmmaking: the films of Amacio Mazzaropi; those of the comedic quartet known as the Trapalhoes; and the so-called pornochanchada series of films.
, including the creation of a state film
distribution agency, a sizeable increase in the national film quota, the
proliferation of ‘quota quickies’ and a loosening of censorship
The chapter is divided into two sections. The first section
looks at three very popular cinematic sub-genres which provided a
continuation of the chanchada tradition in Brazilianfilmmaking: the
films of Amàcio Mazzaropi
sordid commercialism’ ( 1995 : 65). His youthful
invective reflects frustration with the foreign domination of the market.
Cinema Novo had emerged around 1960 in response to what its directors
saw as the cultural imperialism evident in Brazilianfilmmaking and
distribution, and the movement was consolidated during the flourishing of
the cultural and political Left that accompanied the government of João
Goulart (1961–64). The