Cultural Contexts of Glauber Rocha’s Filmmaking
Abstract
Helman presents the mini-monograph of the work of Brazilian director Glauber Rocha in the context of the specificity of Cinema Novo. According to the author, Glauber Rocha appears as a tireless revolutionist, a contestant and experimenter. Helman presents the biography of the artist, selected elements of the history of Brazil relevant from the point of view of Rocha’s work, as well as the Cinema Novo movement itself, which is an important reference point for the director. Then she focuses on the director’s feature films, focusing mainly on presenting his artistic strategies and analysing the formal side of his films, which - according to Helman - is an important factor in dealing with political, social and cultural issues (myths, rituals and ceremonies) present in Rocha’s films. At the end of the article, Helman notes: The reading of scientific and critical texts and the opinions of the recipients almost every time confirm that the explication of meanings of Rocha’s films requires knowledge from outside of the text, and reaching for contexts that are often very distant and extensive. If Rocha’s films surprised and confused viewers of the 1960s and 1970s, then today, after many years and so many new experiences in the language and form of cinema, should not they be more transparent to us? No. Rocha did not shape the universal language that is the language of today’s cinema. He created his own language. And the language remained his own.
Keywords:
Glauber Rocha, Cinema Novo, BrasilReferences
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Authors
Alicja Helmankwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Historyk i teoretyk filmu, emerytowana profesor Uniwersytetu Jagiellońskiego. Prowadzi badania w zakresie teorii filmu i komparatystyki. W dorobku naukowym ma ponad 20 książek autorskich, m.in.: O dziele filmowym (1970, 1981), Film faktów i film fikcji (1977), Przedmiot i metody filmoznawstwa (1985), Słownik pojęć filmowych (1991-1998), Historia semiotyki filmu, t. 1-2 (1992-1993), Twórcza zdrada. Filmowe adaptacje literatury (1998), Urok zmierzchu. Filmy Luchina Viscontiego (2002), Ten smutek hiszpański. Konteksty twórczości filmowej Carlosa Saury (2005), Odcienie czerwieni. Twórczość filmowa Zhanga Yimou (2010), Ścieżkami utraconego czasu. Twórczość filmowa Chena Kaige (2012).
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