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Mouth Of Garbage Cinema
Cinema da Boca do Lixo (''Mouth of Garbage film'') is the collective name for a film genre associated with the Boca do Lixo ("Mouth of Garbage") downtown area of São Paulo, Brazil. On par with French Nouvelle Vague and American slasher films, films of this genre are exploitational and often considered B movies. These films often feature eroticism. Background The underworld of Boca de Lixo was an attraction for Cinema Marginal protagonists, most remarkably represented by Rogério Sganzerla's manifesto film ''O Bandido da Luz Vermelha'' (1968), that depicted the story of criminal João Acácio Pereira da Costa. The 1970s saw an influx of production companies to the area and producers such as Antônio Polo Galante, David Cardoso, Nelson Teixeira Mendes, Juan Bajon, Cláudio Cunha, Aníbal Massaini Neto made investments in Boca de Lixo. The result was ''cinema da Boca'', low-budget films with superficial content, produced for quick returns to investors. Although identified forem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film Genre
A film genre is a stylistic or thematic category for motion pictures based on similarities either in the narrative elements, aesthetic approach, or the emotional response to the film. Drawing heavily from the theories of literary-genre criticism, film genres are usually delineated by "conventions, iconography, settings, narratives, characters and actors." One can also classify films by the tone, theme/topic, mood, format, target audience, or budget. Hayward, Susan. "Genre/Sub-genre" in ''Cinema Studies: The Key Concepts'' (Third Edition). Routledge, 2006. p. 185-192 These characteristics are most evident in genre films, which are "commercial feature films hat through repetition and variation, tell familiar stories with familiar characters and familiar situations" in a given genre. Grant, Barry Keith. ''Film Genre: From Iconography to Ideology''. Wallflower Press, 2007. p. 1 A film's genre will influence the use of filmmaking styles and techniques, such as the use ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Walter Hugo Khouri
Walter Hugo Khouri (São Paulo, 21 October 1929 – São Paulo, 27 June 2003) was a Brazilian film director, screenwriter, and producer of Lebanese and Italian descent. Khouri made 25 feature films and won several national and international awards. His 1964 film '' Empty Night'' is considered one of the best Brazilian films of all time and was entered for the Palm d'Or in the 1965 Cannes Film Festival. His films show characters, mostly male, who seek meaning for a distressing existence. He was also known for welcoming and introducing young professionals, being the first director to cast the presenter Xuxa Meneghel in the controversial 1982 film '' Love Strange Love''. Filmography * 2001 – '' The Beasts '' (filmed in 1998) * 1999 – '' Lost Passion '' * 1991 – '' Forever'' * 1987 – '' Monica and the Mermaid of Rio '' * 1986 – '' I'' * 1984 – '' Voracious Love '' * 1982 – '' Love Strange Love'' * 1981 – '' Eros, the God of Love '' * 1980 – '' Invitatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film Genres
A film genre is a stylistic or thematic category for motion pictures based on similarities either in the narrative elements, aesthetic approach, or the emotional response to the film. Drawing heavily from the theories of literary-genre criticism, film genres are usually delineated by "conventions, iconography, settings, narratives, characters and actors." One can also classify films by the tone, theme/topic, mood, format, target audience, or budget. Hayward, Susan. "Genre/Sub-genre" in ''Cinema Studies: The Key Concepts'' (Third Edition). Routledge, 2006. p. 185-192 These characteristics are most evident in genre films, which are "commercial feature films hat through repetition and variation, tell familiar stories with familiar characters and familiar situations" in a given genre. Grant, Barry Keith. ''Film Genre: From Iconography to Ideology''. Wallflower Press, 2007. p. 1 A film's genre will influence the use of filmmaking styles and techniques, such as the use of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Exploitation Films
An exploitation film is a film that tries to succeed financially by exploiting current trends, niche genres, or lurid content. Exploitation films are generally low-quality "B movies", though some set trends, attract critical attention, become historically important, and even gain a cult following. History Exploitation films may feature suggestive or explicit sex, sensational violence, drug use, nudity, gore, destruction, rebellion, mayhem, and the bizarre. Such films were first seen in their modern form in the early 1920s, but they were popularized in the 60s and 70s with the general relaxing of censorship and cinematic taboos in the U.S. and Europe. An early example, the 1933 film Ecstasy, included nude scenes featuring the Austrian actress Hedy Lamarr. The film proved popular at the box office but caused concern for the American cinema trade association, the MPPDA. Hildegard Esper and Dwain Esper are husband and wife film directors and producers who made some of the most ex ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cult Film
A cult film or cult movie, also commonly referred to as a cult classic, is a film that has acquired a cult following. Cult films are known for their dedicated, passionate fanbase which forms an elaborate subculture, members of which engage in repeated viewings, dialogue-quoting, and audience participation. Inclusive definitions allow for major studio productions, especially box-office bombs, while exclusive definitions focus more on obscure, transgressive films shunned by the mainstream. The difficulty in defining the term and subjectivity of what qualifies as a cult film mirror classificatory disputes about art. The term ''cult film'' itself was first used in the 1970s to describe the culture that surrounded underground films and midnight movies, though ''cult'' was in common use in film analysis for decades prior to that. Cult films trace their origin back to controversial and suppressed films kept alive by dedicated fans. In some cases, reclaimed or rediscovered films ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinema Of Brazil
Brazilian cinema was introduced early in the 20th century but took some time to consolidate itself as a popular form of entertainment. The film industry of Brazil has gone through periods of ups and downs, a reflection of its dependency on state funding and incentives. History Early days A couple of months after the Lumière brothers' invention, a film exhibition was held in Rio de Janeiro. As early as 1898, Affonso Segreto supposedly filmed the Guanabara Bay from the ship Brésil on a return journey from Europe, though some researchers question the veracity of this event as no copy of the film remains. He would go on to make documentaries with his brother Paschoal Segreto. From the early beginning of the 20th century, as early as 1900 to the year of 1912, Brazilian films had made a major impact on the internal market, as they produced over an annual production of one-hundred films. It is the year of 1908, also coined Brazil's "golden age" of Cinema, that the country saw its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Júlio Bressane
Júlio Eduardo Bressane de Azevedo (born February 13, 1946) is a Brazilian filmmaker and writer. Biography A representative of the Brazilian '' cinema marginal'', Julio Bressane began making films as an assistant director of Walter Lima Jr., in 1965. In 1967 Bressane debuted as director with ''Face to Face'', being selected for the Festival of Brasilia. In 1970 he founded ''Belair Movies'' in company with fellow filmmaker Rogério Sganzerla. They chose a model of making films and low-cost production and thereby managed to run six feature films in just six months. He came into exile in London in the early 1970s, but returned to Brazil several years later and made one film after another, using slapstick and debauchery as its main features. An acclaimed film of this period was the provocative ''Tabu'', released in 1982. Critics consider Bressane the most scholarly of the Brazilian film directors, and his work is notable for the diversity of its narrative language. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Killed The Family And Went To The Movies (1969 Film)
''Matou a Família e Foi ao Cinema'' (''Killed His Family and Went to the Movies'') is a Brazilian film directed by Júlio Bressane and released in 1969. Plot The film has several related episodes in which the characters seek death as the apex for their passions. Production The film was shot in 16 mm and then enlarged to 35 mm. Remake A remake A remake is a film, television series, video game, song or similar form of entertainment that is based upon and retells the story of an earlier production in the same medium—e.g., a "new version of an existing film". A remake tells the same ... was made in 1991. This version was also written by Bressane but directed by Neville de Almeida. External links * 1969 films 1969 drama films Brazilian drama films 1960s Portuguese-language films {{1960s-drama-film-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1969 In Film
The year 1969 in film involved some significant events, with '' Butch Cassidy and the Sundance Kid'' dominating the U.S. box office and becoming one of the highest-grossing films of all time and ''Midnight Cowboy'', a film rated X, winning the Academy Award for Best Picture. Top-grossing films (U.S.) The top ten 1969 released films by box office gross in North America are as follows: Events * January 14 - Louis F. Polk Jr. becomes president and CEO of Metro-Goldwyn-Mayer * February 23 - Madhubala dies due to a congenital heart disease, at age 36. * June 22 - American singer and actress Judy Garland dies at age 47 of an accidental barbiturate overdose in London. * July 8 - Kinney National Services Inc. acquire substantially all of the assets of Warner Bros.-Seven Arts. * July 13 - Al Pacino's film debut (''Me, Natalie''). * Summer - Last year for prize giving at the Venice Film Festival until it is revived in 1980. From 1969 to 1979, the festival is non-competitive. * A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Awakening Of The Beast
''Awakening of the Beast'' ( pt, O Despertar da Besta, also released as pt, O Ritual dos Sádicos) is a 1970 Brazilian horror/exploitation film directed by José Mojica Marins. Marins is also known by his alter ego Coffin Joe (Zé do Caixão). Marins appears as himself and as the Coffin Joe character in the fictional film which is in the form of a pseudodocumentary. Plot In the film's first portion, filmed in black and white, Dr. Sergio, a psychiatrist, appears on a television program on a panel with three other contemporary psychiatrists after he claims to have conducted experiments on four volunteer drug addicts with LSD in order to investigate his claim that sexual perversion is caused by use of illegal drugs. As evidence, he presents a series of documented accounts of drug use which led to lewd and bizarre sexual acts. Marins appears (as himself) on the panel with the psychiatrists as some type of expert on the subject of depravity. During the program, Dr. Sergio recounts ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
1968 In Film
The year 1968 in film involved some significant events, with the release of Stanley Kubrick's '' 2001: A Space Odyssey'', as well as two highly successful musical films, '' Funny Girl'' and '' Oliver!'', the former earning Barbra Streisand the Academy Award for Best Actress (an honour she shared with Katharine Hepburn for her role in ''The Lion in Winter'') and the latter winning both the Best Picture and Best Director awards. Top-grossing films (U.S.) The top ten 1968 released films by box office gross in North America are as follows: Events * November 1 – The MPAA's film rating system is introduced. Awards Palme d'Or (Cannes Film Festival): canceled due to events of May 1968 Golden Lion (Venice Film Festival): :'' Die Artisten in der Zirkuskuppel: Ratlos'' (''Artists under the Big Top: Perplexed''), directed by Alexander Kluge, West Germany Golden Bear (Berlin Film Festival): :''Ole dole doff'' (''Who Saw Him Die?''), directed by Jan Troell, Sweden Films releas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Red Light Bandit
''The Red Light Bandit'' ( pt, O Bandido da Luz Vermelha) is a 1968 Brazilian crime film directed by Rogério Sganzerla, inspired by the crimes of the real-life burglar João Acácio Pereira da Costa, known as the "Red Light Bandit" (''Bandido da Luz Vermelha''). The film is a representative work of ''cinema marginal'', the Brazilian underground filmmaking movement of the 1960s. Sganzerla was 21 years old when he directed it. Sganzerla called the film ''a Third World western''. Plot Jorge, a São Paulo house burglar, nicknamed by the press the "Red Light Bandit", baffles the police by using peculiar techniques. Always carrying a red flashlight, he rapes his victims, has long dialogues with them and makes daring escapes. Afterwards, he spends the profits of his crimes. The bandit's exploits are shown in a fragmented manner, voiced over by two narrators in the style of a sensationalistic radio program. He has an affair with the ''femme fatale'' Janete Jane, meets other burgla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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