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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Tunica-Biloxi Language & Culture in the Classroom

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Saturday, January 25, 2020
9:00 am – 12:30 pm
Tunica-Biloxi Language & Culture in the Classroom

This collaborative workshop is designed for middle to high school Social Studies educators to enhance the teaching of the Tunica community while highlighting this group as part of a series of ancient civilizations currently taught at the K-12 level. This workshop is the first one in the series aimed at increasing and extending the current teaching of ancient civilizations in the Americas. The local focus on Louisiana indigenous people and culture will enable educators to create deeper connections when teaching about indigenous identity across the Americas such as the Maya, the Aztec and the Inca.

This workshop will introduce participants with little or no prior knowledge to ancient Tunica history, art, and language, with special focus on the role of food and native foods of this region. Language Instructors Donna Pierite and Elisabeth Pierite Mora of the Tunica-Biloxi Language & Culture Revitalization Program (LCRP) will share the history of the Tunica-Biloxi Tribe beginning in 1541 up to the 1700s when the tribes reached the Avoyelles Prairie. Through story, song and dance they will share the Tunica language and Tunica-Biloxi culture. They will highlight the cultural educational initiatives of LCRP, and provide a list of online resources and samples of pedagogical materials for attendees.

Sponsored by the Middle American Research Institute, S.S. NOLA, and the Stone Center for Latin American Studies.

This Bridge Called our Backs: Judith F. Baca, Muralism, and Community Engagement

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A Lecture by Dr. Anna Indych-Lopez
The City University of New York

Monday, February 3, 2020
6:00 PM

Woldenberg Art Center
Room 210

FLAS Summer Fellowship Application Deadline: February 14th, 2020

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The Stone Center for Latin American Studies receives funding from the U.S. Department of Education’s Title VI program for Foreign Language and Area Studies (FLAS) fellowships. FLAS fellowships administered by the Stone Center are available to undergraduate and graduate students for the intensive study over the summer of Kaqchikel Maya, Portuguese, or another less-commonly taught Latin American language. Graduate students wishing to engage in intensive study of such a language are encouraged to apply for one of these fellowships. Only U.S. citizens or permanent residents are eligible to apply; and only intensive summer language programs that meet the FLAS guidelines will be considered. A listing of some of the approved programs is prepared by CLASP and available on-line. Program information and application packets for Tulane sponsored summer language programs can be found here.

The following FAQs offer further information on the application process and program guidelines for undergraduates and graduates respectively:

Summer FLAS FAQ for Undergraduates
Summer FLAS FAQ for Graduate Students

The Stone Center staff held an on-line information session on Wednesday, January 15, 2020. You can access the video and PowerPoint presentation here: FLAS SUMMER APPLICATION MATERIALS for 2020 All materials are PDF files, forms are in fillable PDF format.

All application materials, including the faculty recommendation form, proposal narrative, and financial need statement or FAFSA EFC, should be submitted electronically by email according to the application guidelines. Please review these guidelines carefully.

For questions regarding the FLAS Fellowship, please contact Dr. Jimmy Huck by email at jhuck@tulane.edu OR Valerie McGinley at vmcgmar@tulane.edu.

Bate Papo! Primavera 2020

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A weekly hour of Portuguese conversation and tasty treats hosted by Prof. Megwen Loveless. All levels are welcome! Meetings take place on Fridays at different hours and locations. See the full schedule below:

January 17th, 11 AM, LBC Pocket Park
Treat: Suco de maracuja

January 24th, 3 PM, Boot
Treat: Suco de caju

January 31st, 4PM, Cafe Carmo (527 Julia St.)
Treat: Suco de caja

February 7th, 11 AM, LBC Pocket Park
Treat: Agua de coco

February 14th, 11 AM, LBC Mezzanine
Treat: Guarana

February 21st, 12PM, PJs Willow
Treat: Cha de maracuja

February 28th, 2PM, Sharp Residence Hall
Treat: Cafe brasiliero

March 6th, 10 AM, LBC Mezzanine
Treat: Cha matte

March 13th, 1 PM, LBC Pocket Park
Treat: Suco de goiaba

March 20th, 3 PM, Greenbaum House
Treat: Limonada a brasiliera

March 27th, 12 PM, LBC Mezzanine
Treat: Batido de abacate

April 3rd, 11 AM, LBC Pocket Park
Treat: Suco de acai

April 17th, 1 PM, LBC Pocket Park
Treat: Caldo de cana

April 24th, 2 PM, Boot
Treat: Groselha

Graduate Student Writing Group

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The Graduate Student Writing Group convenes on Fridays from 1:30 – 3:30 PM. These structured writing sessions are open to Latin Americanist graduate students in all departments. Students, who arrive with a project and a goal, work in communal silence during two 45 minute blocks separated by a 10-minute coffee break. All meetings will be held in the Latin American Library Seminar Room. Co-sponsored by the Stone Center and the Latin American Library.

Ancient Civilizations K-16 Series for Social Studies Educators

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Ancient Civilizations
K-16 Educator Workshop Series
Spring 2020

For educators of grade levels: K-12

Tulane University’s Middle American Research Institute (MARI), Stone Center for Latin American Studies (SCLAS), S.S. NOLA, and AfterCLASS will host a professional development workshop series open to all K-16 school professionals. These workshops will challenge educators to learn about the unexpected impact and connections of Ancient civilizations from Central America to the Gulf South. In particular, the workshops will foster a deeper comprehension of how to incorporate art, language and food across the disciplines. Participants will learn unique ways to incorporate the Tunica, Maya and Aztec cultures into the classroom in a variety of subjects. Registration for each workshop is $5 and includes light snacks, teaching resources, and a certificate of completion.

The workshop series will prepare teachers:

  • To utilize digital humanities resources in the classroom;
  • To design culturally appropriate primary and secondary research projects;
  • To teach about Pre-Columbian and ancient civilizations, language, geography and foods;
  • To encourage student self-determination through meaningful and relevant cultural projects.

Saturday, January 25, 2020
9:00 am – 12:00 pm
The Tunica of the Lower Mississippi River Valley
Middle American Research Institute – Seminar Room
6823 St. Charles Avenue
This workshop will introduce participants with little or no prior knowledge to ancient Tunica history, art, and language, with special focus on the role of food and native foods of this region. Participants will explore the physical, cultural and linguistic characteristics of the region. Representatives of the Tunica community will introduce their language and culture and the work they do to preserve their language.

Friday, March 6, 2020
4:00 pm – 6:00 pm
Understanding Maya Fare: Beyond Tamales and Cacao
AfterCLASS – Taylor Education Center
612 Andrew Higgins Blvd. #4003
In collaboration with the Annual Tulane Maya Symposium, this workshop focuses on foods of the Maya. Participants will explore the foods of the Maya focusing on the role of food over time. Join us as we hear from chocolate specialists and our Kaqchikel language scholar will discuss the importance of corn. REGISTER HERE.

Thursday, May 2020
Aztec Mexican Art and Culture
Participants in this workshop will explore the art and culture of the Aztec community. Date TBD