Selective and “Veiled” Demarketing from the Perspective of Black Female Consumers

This study sheds light on the perspective of Black female consumers in regards to certain effects of marketing initiatives adopting the literature on demarketing as a framework. The context examined is their experience with the market of hair beauty and care. Media actions are analyzed along narrative interviews in order to understand the phenomenon. The findings reveal a structural dominant pattern which perpetuates the marginalized status of Black women’s natural traits. Emerging market initiatives point to movements concerning the visibility of such female consumers, who despite being eager to consume, have their demand discouraged. This suggests that they perceive a selective and veiled demarketing, as one of the results of marketing actions. The analysis invites for theoretical reflections on demarketing and veiled racism in Brazil

The Black in Dramaturgy, a Perfect Case of the Decadence of the Myth of the Brazilian Racial Democracy

The myth of the Brazilian racial democracy still remains among the cinema and soap opera industry, even though it is greatly criticized by several sectors of the black population. The myth is characterized as a powerful curtain that enables the perception of negative stereotypes about African-Brazilians and provokes the lack of recognition of black actors and actresses throughout the country’s history of cinema and television

O tenso enegrecimento do cinema brasileiro nos últimos 30 anos

Uma onda de cinema negro é a grande novidade na história recente do cinema brasileiro, acentuando com originalidade e com tensões uma característica que se fazia notar nos últimos trinta anos, uma cinematografia de muita diversidade temática, de estilos e até regional. Entretanto, apesar desta multiplicidade de narrativas, esse mercado audiovisual se recusava a incorporar uma maior participação de cineastas, elenco, e o protagonismo da parcela negra, maioria populacional do país.La grande nouveauté de l’histoire récente du cinéma brésilien est l’apparition d’une vague de cinéma noir ; elle accentue, par son originalité et ses tensions, une caractéristique remarquable des trente dernières années, à savoir une cinématographie de grande diversité thématique, de styles et voire même de régions. Cependant, malgré cette multiplicité de récits, le marché audiovisuel a refusé d’intégrer une plus grande participation de cinéastes, d’acteurs et du rôle prépondérant de la population noire, majoritaire au Brésil

O negro na dramaturgia, um caso exemplar da decadência do mito da democracia racial brasileira The black in dramaturgy, a perfect case of the decadence of the myth of the brazilian racial democracy

O mito da democracia racial brasileira, apesar de intensamente criticado por amplos setores da população negra, persiste até hoje na indústria do cinema e da telenovela. Caracteriza-se como uma poderosa cortina que dificulta a percepção dos estereótipos negativos sobre os afro-brasileiros e provoca a falta de reconhecimento da importância dos atores e das atrizes negras na história do cinema e da televisão do país.<br>The myth of the Brazilian racial democracy still remains among the cinema and soap opera industry, even though it is greatly criticized by several sectors of the black population. The myth is characterized as a powerful curtain that enables the perception of negative stereotypes about African-Brazilians and provokes the lack of recognition of black actors and actresses throughout the country's history of cinema and television

30 ans de Rencontres

Au diapason du festival « Cinélatino, Rencontres de Toulouse », ce numéro endosse ses habits de fête pour célébrer les 30 ans des Rencontres. Il propose un dossier foisonnant qui s’ouvre avec un panorama général et revient sur la richesse des cinématographies latino-américaines des trois dernières décennies : Mexique, Argentine, Uruguay, Colombie, Équateur, etc. À cette occasion, la revue publie une longue entrevue avec Esther et Francis Saint-Dizier, qui comptent parmi les fondateurs du festival, et propose aux amis fidèles de se replonger dans leurs souvenirs des Rencontres à travers trois questions. Un Almanach invite également à voyager par l’image dans les méandres des archives de ce festival. En plus du dossier principal, le lecteur trouvera des comptes-rendus de lectures, des analyses de films et des réflexions pointues, notamment sur un autre anniversaire, mai 1968, et un retour sur le cinéma de Lisandro Alonso. Un numéro exceptionnel pour une année exceptionnelle