The representation of Rio de Janeiro as an identity trait of the brazilian New Cinema
Domingos de Oliveira’s All Women in the World, 1967
DOI:
https://doi.org/10.23927/issn.2526-1347.RIHGB.2021(485):361-382Keywords:
Rio de Janeiro, Brazilian New Cinema, urban representationAbstract
Before being a “movement”, the so-called Brazilian New Cinema could be defined as a “process in motion”: in the early 1960s, a filmography was gradually created which called itself and was identified by critics as “new”. The urban representation, focused mainly on Rio, was one of its identity traits at a time when attention was still directed to the favelas (slums). The situation, though, changed over the decade. All the Women in the World, a film eagerly awaited by the public as a New Cinema experiment, did not fulfill this expectation and, though considered by critics as a modern film, did not carry the DNA of the New Cinema. The representation of Rio in the film seems to have played a central role for its downgrading, since, according to the logic of the reception, the hedonistic features characterizing the city prevented it from being classified as a Brazilian New Cinema experiment.
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