Roger Thayer Stone Center For Latin American Studies

Tulane University

Mulheres da Retomada: Women Filmmakers in Contemporary Brazilian Cinema

January 28th, 2010 - April 22nd, 2010
Thursdays, 7:00pm
7:00pm

Location
Jones Hall 204
Tulane University

‘€œThe history of Brazilian women‘€™s participation in the cinema is no exception to the rule: they have often performed in front of the camera, but they have rarely worked behind it.‘€
—Elice Munerato and Maria Helena Darcy de Oliveira

Next Showing:
22-Apr: Durval discos, Anna Muylaert (2002)

‘€œMulheres da Retomada: Women Filmmakers in Contemporary Brazilian Cinema‘€ is a film series/festival/conference devoted to the exhibition and exploration of the work of woman filmmakers in the post-Fernando Collor renewal of Brazilian film known as the retomada. Before the mid 1990s there had been only a handful of women filmmakers in Brazil. In the silent period, and through the 1950s, actresses like Cleo de Verberena, Carmen Santos and Gilda de Abreu capitalized on their fame as actresses to direct and produce their own films, albeit with fleeting success. In the 1960‘€™s, Brazil‘€™s best known film movement, cinema novo, was resolutely male dominated. It was not until the late 1970s and 80s that several women – Tereza Trautman, Tete Moraes, Tizuka Yamazaki and, most notably, Ana Carolina – were able to make their first films.

In 1990, newly-elected president Fernando Collor dismantled all existing mechanisms in support of national filmmaking and production dropped to practically zero. However, this vacuum ended up being an unexpected fertile ground for the emergence of a new generation of women filmmakers who were able to take advantage of new federal and state initiatives (post 1992-95) in support of cultural production. The Retomada, as this new emergence of the national cinema is called in Brazil, was heralded by the tremendous critical and box-office success of actress-turned-director Carla Camurati‘€™s first feature, Carlota Joaquina, Princesa do Brasil in 1995.

‘€œMulheres da Retomada‘€ begins with a film series (Spring and Fall 2010) that includes the major feature films produced by women filmmakers in Brazil and concludes with a film festival and conference in November 2010. The project is funded through a grant from the Newcomb College Institute, the Stone Center, and the Silverstein Fund of the Film Studies Program. It is co-organized by professors Ana López (Communication) and Rebecca Atencio (Spanish and Portuguese).

For more information email Ana López at lopez@tulane.edu.

Full Schedule:
  • 28-Jan: O ebrio, Gilda de Abreu (1946) – View Flyer
  • 04-Feb: Mar de rosas, Ana Carolina (1977) – View Flyer
  • 18-Feb: Gaijin, Tizuka Yamasaki (1980) – View Flyer
  • 25-Feb: Terra para Rose, Tetê Moraes (1987) – View Flyer
  • 04-Mar: A hora da estrela, Susana Amaral (1985) – View Flyer
  • 11-Mar: Que bom te ter viva, Lucia Murat (1989) – Leslie Marsh lecture* – View Flyer
  • 18-Mar: Carlota Joaquina, Carla Camurati (1995)
  • 25-Mar: Bananas is my Business, Helena Solberg (1995) – View Flyer
  • 08-Apr: Um passaporte húngaro, Sandra Kogut (2001) – View Flyer
  • 15-Apr: Bicho de sete cabeças, Laís Bodanzsky (2001) – View Flyer
  • 22-Apr: Durval discos, Anna Muylaert (2002) – View Flyer

*Leslie L. Marsh received her Ph.D. in Spanish, with a Graduate Certificate in Film Studies from the University of Michigan. Her research focuses on representations of violence and questions of citizenship in contemporary Latin American Film and Video. She is currently editing a manuscript on Brazilian women‘€™s filmmaking in the 1970s and 1980s.

January 28
O ebrio (The drunkard, 1946) D. Gilda de Abreu. 126 min.

Gilda de Abreu and her husband, Vincente Celestino, were popular theatrical entertainers with their own production company. De Abreu performed as an actress and singers on stage, radio and film and also wrote and adapted novels and plays. O ebrio, her first film, was adapted from one of her husband‘€™s musical compositions and was a tremendous box-office and critical success. In the best melodramatic tradition of the period and clearly influenced by the theatrical rhetoric made familiar through the radio, the drunkard of the title is a successful medical doctor – Gilberto Silva – who is betrayed by his wife and takes up a new identity as a wandering drunk with ‘€œfriends only in taverns.‘€

February 4
Mar de Rosas (Sea of Roses, 1977) D. Ana Carolina. 99 min.

Ana Carolina‘€™s first fiction film is an iconoclastic portrait of middle class life and of a dysfunctional family. The protagonist, Betinha (Cristina Pereira) in a teenage anti-heroine: rambunctious, unpredictable and naughty she is on the run with her mother Felicidade (Norma Bengel) who has attempted to kill husband Sergio (Hugo Carvana) in a hotel bathroom. Betinha and Felididade are followed by a suspicious character in a black Volkswagen and, after a series of terrible mishaps are rescued by the banal dentist Dr. Dirceu and his wife Miriam. This explosive black comedy is driven by a spirit of revolt and explores absurd familial situations as a springboard for exposing sexism, repression and alienation.

February 18
Gaijin: Os caminhos da libertade (Outsider: A Brazilian Odyssey, 1980) D. Tizuka Yamasaki.

Tizuka Yamasaki‘€™s first fiction film is a tribute to her grandmother, who emigrated from Japan to Brazil in the early 1900s in search of a better life and found poverty, back-breaking labor, discrimination and loneliness. The exile epic begins in 1908 Japan, when brothers Yamada (Jiro Kawarasaki) and Kobayashi (Keniti Kaneko) decide to immigrate to Brazil in search of a better life. Because families received preferential treatment, Yamada decides to marry 16 year old and Titoe ( Kyoko Tsukamoto). In Brazil they are put to work at the large Santa Rosa coffee plantation in São Paulo where they and many other Japanese workers are culturally and linguistically isolated and treated like chattel by the owners. Among the few who are sympathetic to their plight is Tonho (Antonio Fagundes), a handsome foreman with a social conscience who will end up a labor organizer in São Paulo.

February 25
Terra para Rose (Land for Rose, 1987) D. Tetê Moraes. 84 min.

Terra para Rose is an emotionally wrenching socially committed documentary about the land reforms in Brazil that occurred during the transition from dictatorship to democracy. In 1985, the government designed a plan to confiscate 43 million hectares of land from large landowners and to divide them among a million and a half landless farmers‘€™ families. This was not a serious sacrifice for the landowners, because the confiscated land was mostly not cultivated, but the reform failed, due to discord within the government and opposition from pressure groups. Tetê Moraes focuses on one of the first occupations organized by the Landless Movement (Movemento Sem Terra, MSM) in Rio Grande do Sul in 1985: 1500 families tried to occupy the Fazenda Anoni, a large unused property. The film shows their struggles to win the right to cultivate the land in four stages: the initial invasion of the farm, a 500km march to Porto Alegre by the ‘€œsem terra,‘€ their temporary camp in front of the Legislative Assembly, and the return to the promised land, where only 300 of the 1500 families were given land parcels. Throughout, her focal point are the women, especially Rose, who has been there two years and whose son was the first child to be born in the camp.

March 4
A hora da estrela (The Hour of the Star, 1985) D. Suzana Amaral

Suzana Amaral‘€™s impressive debut feature (made when she was 52, having enrolled at NYU Film School after raising nine children) is a stark portrait of Macabéa (Marcelia Cartaxo), a young office typist barely eking out a life in São Paulo. At first Macabéa‘€™s ignorance and lack of social graces test the audience‘€™s sympathies, but Amaral is able to convey her interior landscape of thoughts and desires through camera work and a dense soundtrack of snippets from radio programs and electronic music. Based on a densely descriptive novel by Clarice Lispector, the film paints a stark portrait of the life of an urban Brazilian girl working barely above the poverty line while also providing us with lyrical oases in dreamy sequences in which Macabea dreams about other lives and possibilities.

March 11
Que bom te ver viva (How Good to See You Alive, 1989). D. Lúcia Murat. 100 min.

Mixing documentary and fictional modes, Que bom te ver viva deals with torture during the Brazilian dictatorship, showing how its victims survived and still deal with those violent experiences almost two decades later. The film mixes the fantasies of an anonymous character played by actress Irene Ravache with the testimonies of eight women who were tortured political prisoners. More than provide a catalog of their mistreatments, the film focuses on the price they paid (and continue paying) for surviving the experience of torture with lucidity. To differentiate the fictional from the documentary, Murat recorded the testimonies of the ex political prisoners in video and framed them tightly, as in a 3×5 passport picture. Their daily lives were filmed with natural light while the monologue of the Ravache character was filmed with very theatrical lighting.

March 18
Carlota Joaquina, Princesa do Brasil (Carlota Joaquina, Princess of Brazil, 1995) D. Carla Camurati. 100 min.

Spain, 1785 – Carlota Joaquina (Marieta Severo) a child who was promised to Dom João VI (Marco Nanini), at 10 years of age receives the portrait of her future husband and is obliged to leave for Portugal carrying with her only her family inheritance. Arriving in her new country, Carlota suffers a great deception upon encountering her “promised”… producing many fights, infidelities and… many children. With the death of Dom José, heir to the throne of Portugal and the declaration of insanity of Maria I, Carlota Joaquina and Dom João VI inherit the Portuguese crown. However, frightened by the French Revolution and the proximity of Napolean’s army, they resolve to flee to their colony: Brazil. Beyond humorously recounting a rather non official and irreverent history of an important epoch in Brazil‘€™s history, Carla Camurati‘€™s first fiction film (after a stellar career as an actress) is considered the film that marks the beginning of the rebirth of the national cinema after the chaos produced by President Collor‘€™s austerity measures in 1989. It was the first film of this period to reach more than a million spectators.

March 25
Bananas is my Business (1995) D. Helena Solberg. 91 min.

This fascinating film skillfully combines reenactments, interviews with confidants and commentators, and footage from her many films to tell the haunting story of 1940‘€™s superstar Carmen Miranda. Charting Miranda‘€™s transformation from famed Brazilian singer to Hollywood‘€™s first Latina star to independent artist, award-winning Brazilian filmmaker Helena Solberg shows how Miranda‘€™s saga exemplifies contradictions in the relationship between Latin America and the United States that persist today. At the convergence of sexual politics, cultural colonialism, and one woman‘€™s life, this moving film powerfully explores the complex factors behind the image and life of the ‘€œTutti-Frutti Woman,” Carmen Miranda.

April 8
Um passaporte húngaro (A Hungarian Passport, 2001). D. Sandra Kogut.

Speaking over the telephone with the Hungarian consulate, the Brazilian filmmaker Sandra Kogut asks, ‘€œCan someone who has a Hungarian grandfather obtain a Hungarian passport?‘€ The bureaucrat on the other end of the line is confused, ‘€œYes…it‘€™s possible…but why do you want a Hungarian passport?‘€ The administrative process of obtaining a passport becomes the narrative thread of this disarmingly unaffected film diary. Kogut creates a private journal of her trips to and from Brazil, Hungary, and France, recording the Kafkaesque experience of her frustrating and often hysterical attempts to jump through the necessary bureaucratic hoops. On the way, she explores a painful family history of forced emigration and a hidden legacy of anti-Semitism as she confronts some essential questions: What is nationality? What is a passport for? What should we do with our heritage? How do we construct our history and our own identity?

*April 15
Bicho de sete cabeças (Brainstorm, 2001) D. Laís Bodanzky. 74 min.

Neto (Rodrigo Santoro) is a middle class adolescent keen on freedom and new experiences. His father, Wilson (Othon Baston) does not understand his small acts of rebellion and their relationship grows more difficult daily. After finding a joint in the pocket of Neto‘€™s jacket, Wilson commits him to a mental institution. There Neto must deal with an absurd and inhuman world in which individuals are devoured by a mental health system that is cruel and corrupt. On the other hand, his experiences at the clinic also help him to mature and to transform his relationship with his father.

April 22
Durval Discos (Durval Records, 2002) D. Anna Muylaert.

In the late 90’s, Durval (Ary França) is a middle aged man who owns a record store in the first floor of his overbearing mother’s house (Etty Fraser). A typical hippie, Durval refuses to sell cd’s despite the decline in customers. He notices his mother is not giving as much attention to cooking and house chores as she once did and suggests they hire a maid, a task which is tricky since they are only willing to pay 100 reais. A young woman (Letícia Sabatella) finally appears willing to take on the job, but disappears after one day, leaving behind a young girl Kiki and a note that she will return in a three days. With an amazing soundtrack of 70‘€™s Brazilian music, the film is a charming homage to vinyl and the Side A and Side B of life.

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Life, Love, and Labor of African Descendants in Late-Colonial Veracruz: An Analysis of the 1791 Census

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Join us at the Stone Center for this public lecture by Dr. Beau D.J. Gaitors, Assistant Professor at Winston Salem State University.

In the port city of Veracruz in 1791, African descendants represented thirty-five percent of the population whose race was identified and roughly twenty-five percent of the overall population according to the census of 1791. Employing the census of 1791, this presentation goes beyond the numeric representation of African descendants in the port city of Veracruz. Instead, it demonstrates how the 1791 census affords an opportunity for a complex analysis of African descendants in Veracruz in terms of race, occupation and marital status (among other aspects). This presentation engages these characteristics to view the position of African descendants in a late-colonial urban context in Mexico and details how the methodological use of census records has broader implications for other regions and time periods.

Beau D.J. Gaitors is an assistant professor of history in the Department of History, Politics, & Social Justice at Winston-Salem State University. His research focuses on the African diaspora with a particular emphasis on the social, political, and economic contributions of African descendants during the transition to independence in Mexico. He received his PhD from Tulane University (2017) in the Department of History. He received his M.A. in History from Purdue University (2010). Dr. Gaitors holds a B.A. in International Relations and a B.A. in Africana Studies from Brown University (2008). He received a Fulbright fellowship (COMEXUS 2013-2014) to conduct archival research for his current book project on African descendants in nineteenth-century Mexico and served as a postdoctoral fellow through the Consortium for Faculty Diversity. His current manuscript project engages the position of African descendants in the port city of Veracruz through the lens of mobility, citizenship, and belonging in the nascent nation.

Study Abroad Fair

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The Tulane Study Abroad Fair showcases the study abroad opportunities that are available to Tulane students, while also highlighting the experiences of study abroad alumni, international students and visiting exchange students. Come to the Study Abroad fair to visit with representatives from programs around the world as well as Tulane departments and faculty that run international programs.

The Stone Center for Latin American Studies and Cuban and Caribbean Studies Institute will be there to showcase our three summer abroad opportunities: Summer in Cuba, Summer in Brazil, and Mayan Language Institute.

Latin American Writers Series: Gabriela Wiener

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Tulane Visiting Scholar and Ecuadorian author Gabriela Alemán interviews Peruvian writer Gabriela Wiener about her life, interests, and influences. Their discussion will be followed by an open Q&A and informal reception. Note: This event will be held in Spanish

About the Latin American Writers Series

This series brings together Latin America’s most representative creative voices and the editorial entrepreneurs that publish them. By way of interviews conducted by renowned Ecuadorian writer Gabriela Alemán and presentations of various editorial missions, the guests will shed light on a literary world shaped by the contemporary issues of the continent. Moving forward, their conversations will comprise the centerpiece of a digital archive that introduces their ideas to a global audience.

Este serie reune a los autores más representativos de la escritura continental y los editores que los publican. A través de entrevistas con la reconocida escritora ecuatoriana Gabriela Alemán y presentaciones de proyectos editoriales, los invitados explorarán los vínculos entre el mundo literario y la realidad continental. Sus conversaciones se convertirán después en el eje de un archivo digital que busca llevar estas ideas a un público global.

About the author

Gabriela Wiener, born in Lima, has published multiple collections of chronicles, including Sexografias (2008), Llamada Perdida (2009), Nueve Lunas (2015), and Dicen de mí (2017), as well as one of poetry, Ejercicios para el endurecimiento del espíritu (2014). The English translation of her first book, Sexographies, was released in 2018. Her writing also regularly appears in periodicals in Europe, South America, and the United States. In 2018, Wiener shared the IPYS Premio Nacional de Periodismo in Peru with Diego Salazar for Una historia de terror en París a piece exposing the sex crimes of poet Reynaldo Naranjo.

Screening of Havana, From on High at the New Orleans Film Festival

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The Cuban and Caribbean Studies Institute is proud to sponsor two screenings of Havana, From on High at the New Orleans Film Festival.

THURS OCT 17 | 12:30PM | THE RANCH THEATER AT CAC
TUES OCT 22 | 3:45PM | TUBI THEATER AT CAC

Film Description

The sun rises over Havana, Cuba, and awakens not just a city, but the people who live on its rooftops. Amidst poverty and dilapidated buildings left by the Special Period‘€“the worst economic crisis the country has ever seen‘€“lie people with a deep love for the city and their towering views. Through sun-soaked visuals and interviews with rooftop dwellers, we get a sense of their hopes, history, and the reality of living in Cuba post‘€“Special Period. What begins as a portrait of everyday life becomes an exploration of the effects of socio-economic disarray and increased foreign influence on a fiercely independent nation. Despite their adversity and separation from the world, the rooftop dwellers of Havana, like all others, search for happiness.

The Stone Center will be offering a limited number of free tickets on a first-come, first-served basis. Please stay tuned for announcements on how to redeem these tickets.

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A weekly hour of Portuguese conversation and tasty treats hosted by Prof. Megwen Loveless. All levels are welcome!

The theme for this semester will be Passion Fruit. So bring your sweet tooth to try this week’s homemade delicacy: Sementes de maracujá.

Achieving Dreams Fashion Show

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The Achieving Dreams Fashion Show aims to present and share the clothing lines of New Orleans-based Garifuna Zechor Fashion with a diverse range of communities. This company is committed to creating unique designs in a wide range of sizes, featuring bright colors and patterns, which for the Garifuna people represent happiness and celebration of their Afro-Indigenous culture. This event is organized and sponsored by Teresa Morales, the founder and director of Zechor Fashion, LLC. She is presenting this event with the support of the Zechor Fashion team, an extended network of friends and family. The featured presenter will be cultural producer and filmmaker Sarah K. Borealis, who is a Stone Center alumna.

VIP Tickets: $30
Regular Admission: $25
Tickets can be purchased over the phone – call 504-470-6552 to reach Aribela or 832-680-1952 to reach Zechor or here.

Teresa Rochez is originally from Honduras. She was born in the community of La Ensenada, near Tela, in the Honduran Department of Atlantida. When she was a child, Teresa dreamed of becoming a model, but because she was teased for her short stature, she left this dream behind. At the age of 19 years, she migrated to the United States in search of new opportunities and began to nurture her passion for fashion. She started by designing clothes primarily for her friends and family, but eventually began to receive and fulfill international orders from her native Honduras as well as from throughout the United States. Her dream is to keep on developing and evolving her brand with the same impulse for success she derives from her experience as a Garifuna, Latina, Honduran immigrant in the United States. You can find Teresa Rochez and her designs on Instagram (@zechorrochez) and Facebook (Rochez Zechor).

For more information visit the Facebook Page.