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Glauber Rocha's Terra em transe (1967; Land in Anguish) dissects the populist arrangements that have long dominated Brazilian politics by tracing the trajectory of a poet as he moves between Left and Right and his final, suicidal option for individual armed struggle.
Glauber Rocha's Barravento (1962; The Turning Wind) denounces Afro-Brazilian religion as a form of alienation while at the same time affirming its value as a means of preserving cultural identity and as a potential site of collective resistance.
Cinema Novo, a movement that marks the beginning of modern cinema in Brazil.
Although Cinema Novo ceased to exist as a unified movement by the early 1970s, virtually every significant Brazilian film made since the late 1950s has been directly or indirectly influenced by the movement and its critical vision of Brazilian society.
Its practitioners have remained in the forefront of Brazilian cinema with films such as Joaquim Pedro de Andrade's O homem do pau-brasil (1982; The Brazilwood Man), Carlos Diegues's Bye bye Brasil (1980), Ruy Guerra's A queda (1978; The Fall), Leon Hirszman's Eles não usam black-tie (1981; They Don't Wear Black-Tie), Arnaldo Jabor's Tudo bem (1978; All's Well), Glauber Rocha's A idade da terra (1980; Age of the Earth), and Nelson Pereira dos Santos's Memórias do cárcere (1984; Prison Memoirs). Allegories of Underdevelopment: Aesthetics and Politics in Modern Brazilian Cinema. Randal Johnson gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).
Following Cinema Novo's lead, the best of Brazilian cinema has continued to express certain historical moments as few other art forms have been able to do. Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style.