Remapping Brazilian Film Culture in the Twenty-First Century

<p><em>Remapping Brazilian Film Culture</em> makes a significant contribution not only to debates about Brazilian national cinema, but more generally about the development of world cinema in the twenty-first century.</p><p>This book charts the key features of Brazilian film culture of the first two decades of the twenty-first century, including: the latest cultural debates within Brazil on film funding and distribution practices; the impact of diversity politics on the Brazilian film industry; the reception and circulation of Brazilian films on the international film festival circuit; and the impact on cultural production of the sharp change in political direction at national level experienced post-2016. The principle of "remapping" here is based on a need to move on from potentially limiting concepts such as "the national", which can serve to unduly ghettoise a cinema, film industry and audience. The book argues that Brazilian film culture should be read as being part of a globally articulated film culture whose internal workings are necessarily distinctive and thus deserving of world cinema scholars’ attention. </p><p>A blend of industry studies, audience reception and cultural studies, <i>Remapping Brazilian Film Culture</i> is a dynamic volume for students and researchers in film studies, particularly Brazilian, Latin American and world cinema.</p><p>*Honorary Mention - Best Book in Humanities for the LASA Brazil Prize 2021*</p> <p>Introduction</p><p>Part I</p><p>Chapter One: Making Films in Twenty-first-century Brazil</p><p>Chapter Two: Engaging With Audiences at Home and Abroad</p><p>Chapter Three: Women and Film Culture in Brazil</p><p>Chapter Four: Brazil’s LGBTQ Communities and Film Culture</p><p>Chapter Five: Afro-Brazilian Filmmaking in the Twenty-first Century</p><p>Chapter Six: Screening the Indigenous Experience in Brazil</p><p>Part II</p><p>Chapter Seven: Cinema and Public Security: The <i>Elite Squad</i> </p><p>Phenomenon (2007-2010)</p><p>Chapter Eight: Lúcia Murat’s <i>Olhar Estrangeiro</i> (2005) and the </p><p>representation of Brazil on Foreign Screens</p><p>Chapter Nine: Hope Springs From Rubbish: <i>Trash </i>(2014) and the </p><p>Garbage Aesthetic</p><p>Chapter Ten: A Cordial View from Brazil’s North East: Kleber Mendonça Filho’s <i>Aquarius</i> (2016)</p><p>Epilogue</p>