Considerações sobre os números musicais das chanchadas

Comentam-se as abordagens de Irina Rajewsky e Agnes Pethö sobre a intermidialidade no cinema e no audiovisual e, em seguida, discutem-se as possibilidades de sua aplicação como categoria crítica na análise de alguns números musicais de filmes do diretor Watson Macedo nos anos 1950. Pesquisadores conectam os números musicais de chanchadas brasileiras ao teatro de revista, ao rádio, à indústria fonográfica e ao cinema de Hollywood, mas as relações entre essas diferentes mídias têm sido entendidas tendo o filme como principal foco explicador. Esses números musicais podem ser analisados diferentemente dentro do circuito mais amplo de mídias e práticas culturais urbanas, tal como propõe Charles Musser.This article comments on accounts by Irina Rajewski and Agnes Pethö on the intermediality in cinema and audiovisual production and discusses the use of intermediality as a critical category on the analysis of musical numbers of Brazilian chanchadas of the 1950s directed by Watson Macedo in the 1950s. Film researchers have worked on the connections between Brazilian chanchadas and popular theatre, radio, phonographic industry and Hollywood. The relationship between these distinct cultural practices have been discussed considering the film as the main point of discussion, but, according to Charles Musser, these musical numbers may be better understood inside the broader circuit of media and urban cultural practices

Chanchadas and intermediality: on musical numbers of Aviso aos Navegantes (Watson Macedo, Brazil, 1950)

This audiovisual essay explores the intermedial nature of Brazilian film comedies produced during the 1940s and 1950s, by exploring the musical numbers of Aviso aos Navegantes (Watson Macedo, Atlântida Cinematográfica, 1950). Brazilian cinema of this period is a privileged arena of different media strategies. Its ‘mixed’ style is informed by Hollywood cinema but also by the domestic influence of radio, carnival, and by the local forms of comic staging of the teatro de revista (the Brazilian equivalent of music hall or vaudeville). Of particular interest in this regard are the chanchadas, a body of films made between the mid-1930s and the early 1960s, that presented musical performances intertwined with comic situations, slender narrative lines and strong connections with the world of carnival. Our aim is to show how the relationships between the different forms of cultural production in 1950s Brazil can be identified in a specific chanchada, opening a dialogue between musical performances on stage, over the radio, at carnival and on screen. The essay also examines similarities and differences between chanchadas and Hollywood musical comedy tradition. One area explored is integration, both in the sense in which it is often used in film studies, to discuss the relationship between the numbers and the narrative, and in reflecting on whether the different elements which feed into the numbers of Aviso aos Navegantes are seamlessly combined in the film. Despite the huge popular success of his films, Watson Macedo was considered by many as the most “Americanized” of the directors of that period, adhering less to the critical mechanisms of parody than was the case with his contemporaries. However, if we pay attention to Macedo’s musical numbers, it is evident that these performances are not imperfect copies of Hollywood originals, but have a logic of their own. The audiovisual essay complements Flavia Cesarino Costa’s other article for this issue of Alphaville, ‘Building an integrated history of musical numbers in Brazilian chanchadas’, by exploring related ideas in the context of a single film. As well as the interest of the essay’s own exploration and argument, the pairing of essays – traditional and videographic – enables readers of the special issue to pursue their thinking about chanchadas and intermediality with specific audiovisual material in front of them

Exibição de filmes da Coreia do Norte na Coreia do Sul

O presente artigo explora como a experiência do 22º Festival Internacional de Cinema Fantástico de Bucheon (BIFAN) de 2018, onde ocorreu a primeira exibição pública de um filme norte-coreano na Coreia do Sul, modificou a dinâmica das trocas entre os dois países no campo cinematográfico. Foram exibidos três longas e seis curtas-metragens produzidos na Coreia do Norte em uma mostra temática. Faz-se um retrospecto histórico, desde a separação da península coreana em 1945 até as primeiras trocas comerciais e de pessoas entre os dois países na década de 1970. Comenta-se a evolução das trocas culturais entre os dois países até o festival e, a partir de artigos de jornais e revistas especializadas do campo cinematográfico, objetivando contextualizar todo o evento e o seu impacto cultural. Discute-se as implicações dessa mostra de cinema no histórico das exibições em solo sul-coreano, bem como o processo pelo qual estas passaram para serem autorizadas pelas autoridades da Coreia do Sul. Algumas outras iniciativas, especificamente as levadas a cabo pelo Korean Film Council, são abordadas para explicar o fenômeno. Finalmente, argumenta-se que a exibição desses filmes no âmbito do 22º BIFAN representa um avanço significativo no âmbito da troca entre Coreia do Norte e Coreia do Sul no campo cinematográfico e na aproximação simbólica entre os dois países

Fronteiras intermidiáticas do cinema

Em novembro de 2015 o Cinemídia – Grupo de Estudos sobre História e Teoria das Mídias Audiovisuais do Programa de Pós-Graduação em Imagem e Som da Universidade Federal de São Carlos (UFSCar) – que existe desde 2013 e é liderado por nós, autores que agora apresentamos este dossiê – realizou o seu I Encontro Internacional, o I Cinemídia, com o tema Intermidialidades. O objetivo das conferências e comunicações foi estimular o debate e a investigação sobre modos de interação entre mídias e a ativação de suas zonas fronteiriças

O que os personagens dizem os colocam na história: a crise argentina dos anos 2000 pelas falas de “Nueve Reinas” e “Familia Rodante”

Características, ações e falas de personagens são elementos que exteriorizam o contexto de produção dos filmes. Obras como “Nueve Reinas” e “Familia Rodante” evidenciam por meio destes recursos comportamentos decorrentes de situações críticas, como a crise econômico-social argentina que teve seu ápice em 2001. A análise destas falas permite encontrar indícios que vão além do ambiente ficcional, alcançando seu contexto real

Family and contextual factors associated with licit drug use in adolescence

OBJECTIVE: TO evaluate the family and contextual factors associated with licit drug use among 15 to 19-year-old adolescents in the school context. METHODS: This is a representative, school-based, cross-sectional study conducted with 746 adolescents from 15 to 19 years old enrolled in public and private schools. Parents/guardians reported on the sociodemographic variables, while adolescents answered questionnaires on drug use, family cohesion and adaptability, oral health literacy and visits to the dentist. Information on school context was obtained at the institution and via municipal publications. Associations between variables were analyzed using unadjusted and adjusted multilevel Poisson regression models. RESULTS: Prevalence of licit drug use at least once and a pattern indicative of harmful drug use were 39.8% and 15.1%, respectively. After the adjusted analysis of licit drug use at least once, the variables gender (PR = 1.26; 95% CI: 1.01–1.59), family cohesion (PR = 9.81; 95% CI: 1.23–72.54), and average income of the school district (PR = 0.72; 95% CI: 0.57–0.91) remained in the final model. As for drug abuse, only the detached type (PR = 23.01; 95% CI: 2.46–214.87) and separated type (PR = 13.54; 95% CI: 1.40–130.97) of family cohesion remained in the final model. CONCLUSION: Experience with licit drug use was associated with family and contextual factors among the adolescents, while family cohesion was the main factor related to harmful drug use

Socioeconomic status and family functioning influence oral health literacy among adolescents

OBJECTIVE: Evaluate socio-demographic, family and behavioral factors associated with oral health literacy (OHL) in adolescents. METHODS: Cross-sectional study conducted with adolescents aged 15 to 19 years in Campina Grande, Brazil. Parents/guardians answered a questionnaire addressing socio-demographic data. The adolescents answered validated instruments on family cohesion and adaptability (family adaptability and cohesion evaluation scale), drug use (alcohol, smoking and substance involvement screening test), type of dental service used for last appointment and OHL (Brazilian version of the Rapid Estimate of Oral Health Literacy in Dentistry). Two dentists were trained to evaluate OHL (K = 0.87–0.88). Descriptive analysis was performed, followed by Poisson regression analysis (α = 5%). A directed acyclic graph was used to select independent variables in the study. RESULTS: The following variables remained associated with better OHL: high mother’s schooling level (RR = 1.07; 95%CI: 1.03–1.12), high income (RR = 1.04; 95%CI: 1.01–1.09), white ethnicity/skin color (RR = 1.05; 95%CI: 1.01–1.10), married parents (RR = 1.04; 95%CI: 1.01–1.09), “enmeshed” family cohesion (RR = 1.21; 95%CI: 1.12–1.30), “structured” (RR = 1.06; 95%CI: 1.01–1.12) or “rigid” (RR = 1.11; 95%CI: 1.04–1.19) family adaptability, having more than five residents in the home (RR = 1.07; 95%CI: 1.01–1.14) and having used a private dental service during the last appointment (RR = 1.08; 95%CI: 1.03–1.13). CONCLUSION: Family functioning and socio-demographic factors influence the level of oral health literacy among adolescents

Figuras populares no documentário silencioso brasileiro

This article examines the representation of popular figures in silent Brazilian documentaries of the early 20th Century. It discusses the historical implications of visual patterns and assesses the extent to which they are related to the period’s ideology on modernity and underdevelopment, the nation and its people. The representation of popular figures such as Black, indigenous, or poverty stricken people, as well as the technical and aesthetic choices of these pioneer cameramen, is contextualized within the recent critique of Brazilian cinema's classical historiography.Este artigo pretende examinar aspectos de documentários brasileiros do período silencioso, especialmente aqueles que envolvem representações de figuras populares. Trata-se de discutir as implicações históricas dos padrões visuais utilizados nos filmes das primeiras décadas do século 20 e avaliar em que medida esta cinematografia relaciona-se visualmente com as ideias de nacionalidade, povo, atraso e modernidade. A presença ou a ausência de figuras humanas populares, como negros, nativos e pobres, bem como a existência de precariedades técnicas ou opções estéticas nas imagens produzidas pelos cinegrafistas do cinema silencioso só faz sentido, entretanto, se discutida dentro dos marcos da recente crítica feita por vários pesquisadores à historiografia clássica do cinema brasileiro

Building an integrated history of musical numbers in Brazilian chanchadas

This article discusses industrial and aesthetical aspects of the musical numbers in 1950s Brazilian chanchadas. The chanchadas were a body of films made between the 1930s and 60s, that combined a mixed style derived from domestic influences of radio and popular music routines and from local forms of comic theatrical revues. I propose an examination of the entertainment industry’s influence on the musical numbers chosen for these 1950s chanchadas. This intermedial approach is based on the strong links between cinema and other cultural practices. I will argue the need to take into account not only theatrical practices, but also the routines of carnival culture, as well as the music industry and radio performances, in order to reconsider longstanding historical accounts based on the specificity of film media