A Brazilian Anthropophagic Cinema? (1970-1974) - Guiomar Ramos

Introduction

In her book "A Brazilian Anthropophagic Cinema? (1970-1974)", Guiomar Ramos argues that a new kind of cinema emerged in Brazil during the early 1970s that was characterized by its cannibalistic tendencies. This cinema, she argues, was a product of the country's unique history and culture, and it represented a radical break from traditional filmmaking practices.

The Cannibalistic Cinema

Ramos defines cannibalistic cinema as "a cinema that devours and incorporates other films, images, and sounds, and that in turn is devoured and incorporated by them." This cinema is characterized by its use of collage, montage, and other techniques to create a sense of fragmentation and discontinuity. It is also often characterized by its use of violence, sexuality, and other taboo subjects.

The Brazilian Context

Ramos argues that the cannibalistic cinema emerged in Brazil as a response to the country's unique history and culture. Brazil is a country that has been shaped by a history of colonialism, slavery, and dictatorship. This history has produced a society that is deeply divided along racial, class, and gender lines. The cannibalistic cinema, Ramos argues, reflects this division and fragmentation.

The Films of the Cannibalistic Cinema

Ramos discusses a number of films that she believes exemplify the cannibalistic cinema. These films include "Macunaíma" (1969), "Iracema" (1974), and "Terra em Transe" (1967). These films are all characterized by their use of collage, montage, and other techniques to create a sense of fragmentation and discontinuity. They are also all characterized by their use of violence, sexuality, and other taboo subjects.

The Significance of the Cannibalistic Cinema

Ramos argues that the cannibalistic cinema is a significant development in the history of Brazilian cinema. This cinema, she argues, represents a radical break from traditional filmmaking practices and offers a new way of seeing the world. The cannibalistic cinema, she concludes, is a cinema that is both challenging and rewarding, and it is a cinema that deserves to be more widely seen.

Conclusion

"A Brazilian Anthropophagic Cinema? (1970-1974)" is a groundbreaking book that offers a new way of understanding Brazilian cinema. Ramos's analysis of the cannibalistic cinema is both insightful and provocative, and her book is a must-read for anyone interested in the history of Brazilian cinema or in the cinema of the 1970s.