Advertisement

Introduction

  • Vinicius Navarro
  • Juan Carlos Rodríguez
Part of the Global Cinema book series (GLOBALCINE)

Abstract

In 1964 Eduardo Coutinho, then a young filmmaker with ties to a leftist student organization, started shooting a film in the northeast of Brazilabout a political activist and peasant leader named João Pedro Teixeira, who had been allegedly murdered by a local landowner. The film, Cabra marcado para morrer (Man Marked to Die), was to be a reenactment of the events in his life, performed by nonprofessional actors, all of them peasants like the main character. After 35 days of shooting, however, the project was abruptly interrupted by a military coup that on April 1 put an end to the democratic, left-leaning presidency of João Goulart. The newly installed government banned political freedom and initiated a period of authoritarianism that would last another two decades. Caught in the midst of the turmoil, the history of Cabra marcado para morrer could have ended at that very moment when the euphoria of the early 1960s was violently disrupted by the Brazilian military. Instead, Coutinho’s project resurfaced several years later, resulting in one of the most important Brazilian documentaries of the second half of the twentieth century. In the late 1970s, just as the military dictatorship began to wane, Coutinho decided to revisit Cabra marcado para morrer and turn it into a different film.

Keywords

Aesthetic Experimentation Video Technology Military Coup Social Inequity Military Dictatorship 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. Aguilar, Gonzalo. 2008. New Argentine Film: Other Worlds. New York: Palgrave Macmillan.Google Scholar
  2. Alvaray, Luisela. 2008. “National, Regional, and Global: New Waves of Latin American Cinema.” Cinema Journal 47 (3): 48–65.CrossRefGoogle Scholar
  3. Aufderheide, Patricia. 2000. “Grassroots Video in Latin America.” In Visible Nations: Latin American Cinema and Video, edited by Chon A. Noriega, 219–237. Minneapolis: University of Minnesota Press.Google Scholar
  4. Bernardet, Jean-Claude. 1990. “The Voice of the Other: Brazilian Documentary in the 1970s.” In The Social Documentary in Latin America, edited by Julianne Burton, 87–108. Pittsburgh: University of Pittsburgh Press.Google Scholar
  5. Bruzzi, Stella. 2006. New Documentary. 2nd edition. London and New York: Routledge.Google Scholar
  6. Burton, Julianne, ed. 1990. The Social Documentary in Latin America. Pittsburgh: University of Pittsburgh Press.Google Scholar
  7. Carri, Albertina. 2007. Los rubios: Cartografía de una película. Buenos Aires: Ediciones Gráficas Especiales.Google Scholar
  8. Chanan, Michael. 2007. The Politics of Documentary. London: BFI.Google Scholar
  9. De los Reyes, Aurelio. 1981. Cine y sociedad en México, 1896–1930, Vol. 1 Vivir de los sueños. Mexico, DF: UNAM.Google Scholar
  10. Dieleke, Edgardo and Gabriela Nouzeilles. 2008. “The Spiral of the Snail: Searching for the Documentary—An Interview with João Moreira Salles.” Journal of Latin American Cultural Studies 17 (2): 139–153.CrossRefGoogle Scholar
  11. Frota, Monica. 1996. “Taking Aim: The Video Technology of Cultural Resistance.” In Resolutions: Contemporary Video Practices, edited by Michael Renov and Erika Suderburg, 258–282. Minneapolis: University of Minnesota Press.Google Scholar
  12. Lins, Consuelo. 2004. O documentário de Eduardo Coutinho: Televisâo, cinema e vídeo. Rio de Janeiro: Jorge Zahar.Google Scholar
  13. Nichols, Bill. 2010. Introduction to Documentary. 2nd edition. Bloomington: Indiana University Press.Google Scholar
  14. Ortega, María Luisa. 2003. “El descubrimiento de América Latina por los cineastas viajeros.” In Cine documental en América Latina, edited by Paulo Antonio Paranaguá, 93–108. Madrid: Cátedra.Google Scholar
  15. Paranaguá, Paulo Antonio. 2003. “Orígenes, evolución y problemas.” In Cine documental en América Latina, edited by Paulo Antonio Paranaguá, 13–78. Madrid: Cátedra.Google Scholar
  16. Renov, Michael. 2004. The Subject of Documentary. Minneapolis: University of Minnesota Press.Google Scholar
  17. Rodríguez, Juan Carlos. 2010. “‘El cine militante es el cine abierto a la demanda de los compañeros’: una conversación con Fabián Pierucci del Grupo Alavío y Ágora TV.”A Contracorriente: A Journal on Social History and Literature in Latin America 7 (2): 294–314.Google Scholar
  18. Ruffinelli, Jorge. 2008. El cine de Patricio Guzmán: En busca de las imágenes verdaderas. Santiago de Chile: Uqbar.Google Scholar
  19. Stam, Robert. 1987. “The Hour of the Furnaces and the Two Avant-Gardes.” In Reviewing Histories: Selections from New Latin American Cinema, edited by Coco Fusco, 90–106. Buffalo, N.Y.: Hallwalls Contemporary Arts Center.Google Scholar
  20. Stam, Robert, João Luiz Vieira, and Ismail Xavier. 1995. “The Shape of Brazilian Cinema in the Postmodern Age.” In Brazilian Cinema, edited by Randal Johnson and Robert Stam, 389–472. Expanded edition. New York: Columbia University Press.Google Scholar
  21. Venegas, Cristina. 2010. Digital Dilemmas: The State, the Individual, and Digital Media in Cuba. New Brunswick: Rutgers University Press.Google Scholar

Copyright information

© Vinicius Navarro and Juan Carlos Rodríguez 2014

Authors and Affiliations

  • Vinicius Navarro
  • Juan Carlos Rodríguez

There are no affiliations available

Personalised recommendations