BRAZILIAN CINEMA LAT AM 380 FINAL TAKEHOME II

Brazilian cinema prospect captured different livelihoods, beliefs and lifestyles of different groups of people, those that lived in cities or towns and those that lived in marginal areas with unfavorable conditions like the semi-arid areas where the early Portuguese first settled commonly referred to as sértao in Portuguese. Several influential renowned cinema film directors like Nelson Pereira dos Santos, Glauber Rocha, Andrucha Waddington, Jorge Furtado, João Tikomiroff, and Carlos Diegues Walter Salles amongst many others took the center stage in making these films with deeply embedded and well played out themes or motifs that clearly communicated message of importance. It is due to collective effort of these film productions developments in the 60s and 70s that led to the rise of a pro-modern movement “cinema novo”, new cinema (Rodriguez 109). that was very influential in addressing issues to do with social equality and intellectualism in Brazil as opposed to the traditional cinema technique that were ineffective. The major themes captured by these films as portrayed in the two main settings, rural and urban, are the power in the Brazilian political landscape, religion and Brazilian popular culture.
In the Brazilian context, power is closely associated with corruption in governments. The corruption in turn has led to socio-political and economical oppression to its citizens making the poor or the peasants much poorer while making the rich much wealthy creating a very big power gap between the two (Xavier 86). Power when misused is normally associated with the might or tyranny, and greed in any given society which are easily visible in the Brazilian societal and governmental structure where the rich oppress the poor because of the difference classes created and the powers that come attached.
Power

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