Download e-book for kindle: Amácio Mazzaropi in the Film and Culture of Brazil: After by Eva Paulino Bueno (auth.)

By Eva Paulino Bueno (auth.)

ISBN-10: 1137009195

ISBN-13: 9781137009197

ISBN-10: 1349435996

ISBN-13: 9781349435999

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Extra info for Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo

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That is to say, boundaries between humans and animals are too thin, if existent at all. Then there are mechanical objects, whose expected function should be to establish a division between human and nonhuman. However, as we will see in the discussion of individual films, these human-machine boundaries are presented in terms similar to those used to discuss the social constructs that help differentiate humans from animals. The hero in Mazzaropi’s films becomes similar to the hero in romance, who, as Fredric Jameson writes, is made over into something like a registering apparatus for transformed states of being, sudden alterations of temperature, mysterious heightenings, local intensities, sudden drops of quality, and alarming effluvia, in short the whole semic range of transformation scenes whereby, in romance, higher and lower worlds struggle to overcome each other.

The bottle of whiskey is still inside the house, and the wife again insists that Izidoro keep it for his birthday. But he insists on selling it. Outside, the same two young drunken men are coming down the street. With the bottle of whiskey under his arm, Izidoro leaves the house and approaches them. One of the most striking features of this film is the pervasive instability of signs for human, animal, and mechanical. This instability lends itself to a series of metamorphoses throughout the story.

Unlike other filmmakers, he did not have a formal education; his knowledge of acting came from direct contact with the public; his knowledge of the country he represented on the screens came not from books, but from his travels and from his experience in the circus, in the radio, and in cinema. Furthermore, the genre he used, comedy, can be taken as being superficial, not interested in serious subjects. Finally, he did not search the company of other filmmakers, but instead preferred neither to obtain official financial help nor to accept opinions about his work.

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Amácio Mazzaropi in the Film and Culture of Brazil: After Cinema Novo by Eva Paulino Bueno (auth.)

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