MARC Record from marc_columbia

LEADER: 03861cam a2200577 a 4500
001 14689518
005 20221112231932.0
006 m o d
007 cr |n|||||||||
008 070125s2007 enk obq 001 0 eng d
035 $a(OCoLC)ocn879429394
035 $a(NNC)14689518
040 $aIDEBK$beng$epn$cIDEBK$dOCLCQ$dYDXCP$dE7B$dOCLCO$dOCLCF$dTYFRS$dOCLCQ$dOCLCA$dMOR$dOCLCQ$dU3W$dLEAUB$dUKAHL$dOCLCQ$dYDX$dOCLCO$dK6U$dOCLCO$dOCLCQ
020 $a1306717175$q(ebk)
020 $a9781306717175$q(ebk)
035 $a(OCoLC)879429394
037 $a602968$bMIL
043 $as-bl---
050 4 $aPN1993.5.B6$bS45 2007eb
080 $a791.43(81)(091)
082 04 $a791.430981$222
084 $aAP 44989$2rvk
049 $aZCUA
100 1 $aShaw, Lisa,$d1966-
245 10 $aBrazilian national cinema /$cLisa Shaw and Stephanie Dennison.
260 $aLondon ;$aNew York :$bRoutledge,$c2007.
300 $a1 online resource (xiv, 223 pages)
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
490 1 $aNational cinemas
504 $aIncludes bibliographical references and index.
504 $aIncludes filmography.
588 0 $aPrint version record.
505 0 $aPart I: Cinema and the State. 1. The First Republic (1889-1930) -- 2. The Vargas years (1930-45) and (1951-54) -- 3. Filmmaking and the dictatorship (1964-84) -- 4. Cinema and redemocratization (1984-2006). Part II: Defining 'National' Cinema, 1896 to 1960. 5. The Pioneers -- 6. The Chanchada, the only Brazilian Genre? III: Defining 'National' Cinema since 1960. 7. Cinema novo -- 8. Pornochanchada -- 9. The nation in contemporary cinema. Part IV: Brazilian Identities on Screen: Stars. -- 10. The stars of the chanchadas, 1933-1960 -- 11. Icons of Popular Culture post-1960 -- 12. Bombshells: pin-up actresses post-1960. Notes -- Filmography -- Index.
520 $aBrazilian cinema is one of the most influential national cinemas in Latin America and this wide-ranging study traces the evolution of Brazilian film from the silent era to the present day, including detailed studies of more recent international box-office hits, such as Central Station (1998) and City of God (2002). Brazilian National Cinema gives due importance to traditionally overlooked aspects of Brazilian cinema, such as popular genres, ranging from musical comedies (the chanchada) to soft-core porn films (the pornochanchada) and horror films, and also provides a fresh approach to the internationally acclaimed avant-garde Cinema Novo of the 1960s. Lisa Shaw and Stephanie Dennison apply recent theories on stardom, particularly relating to issues of ethnicity, race and gender, to both well-known Brazilian performers, such as Carmen Miranda and Sonia Braga, and lesser known domestic icons, such as the Afro-Brazilian comic actor, Grande Otelo (Big Othello), and the uberblonde children's TV and film star, and media mogul, Xuxa. This timely addition to the National Cinemas series provides a comprehensive overview of the relationship between Brazilian cinema and issues of national and cultural identity.
650 0 $aMotion pictures$zBrazil$xHistory.
650 6 $aCinéma$zBrésil$xHistoire.
650 7 $aCine brasileño$vHistoria.$2embne
650 7 $aMotion pictures.$2fast$0(OCoLC)fst01027285
651 7 $aBrazil.$2fast$0(OCoLC)fst01206830
650 7 $aFilm$2gnd
651 7 $aBrasilien$2gnd
650 7 $aFilm$xhistoria$zBrasilien.$2sao
650 7 $aBrasilien.$2sfit
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
700 1 $aDennison, Stephanie.
776 08 $iPrint version:$z0415338158$w(DLC) 2007003582
830 0 $aNational cinemas series.
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio14689518$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS