Word: rochas
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HARVARD EPWORTH CHURCH Carrots and Peas by Hollis Frampton, Lemon by Hollis Frampton, Castro Street by Bruce Baillie, Up and Atom by Doug Wendt, Stromboli, by Roberto Rosselini, Oct. 25, at 7:30, $1. A Luta Continua by Robert van Lierop, Barravente by Glauber Rocha...
...bourgeois forms" part of the "data" imparted to an audience. (Every well-meaning cloud-nine intellectual should be required to serve in a factory of a chain gang.) Thus, say Sontag and Poirier, the most important films of the past decade have been the political works of Godard and Rocha, even though these guys are in the baby league as far as politicians go. For my money, the best political film ever made is called Salvatore Giuliano, and was made by an Italian Marxist. Francesco Rosi, in 1962. He was one of the first of his countrymen to reveal...
...Rocha treats these conflicts between elites and masses in two other films about primitive religion in the impoverished northeast of Brazil, Black God. White Devil (1964) and Antonio das Mortes (1969) where the people are actually killed off during the fighting between the elite revolutionary cangaceiros and the beatos, the hired killers of the landowning aristocracy. Rocha deals with Warrior Saints and Dragons of Evil, cut off from the masses by their self-consciousness as legend and their mystical level of existence. Sebastiao, for instance, the revolutionary "Black God," seeks to "revenge the death of Christ with the blood...
PROBABLY the most important early influences on Brazilian directors of the Cinema Novo movement, Rocha has commented, were the films and theoretical writings of Sergei Eisenstein and especially his concept of dialectical montage. This inter-cutting of images as "shocks" provides a language for expressing abstractly the confrontations between abstract forces of history, constructed into a coherent whole, an "agit-guinol" by the director, who intends to achieve a specific effect for the audience, which remains essentially passive. Rocha modifies this concept in developing the dialectical shot, in which each element-each character, myth, power-figure-comes into conflict with...
...Terra em Transe is an enormous, complex, and exciting process. It contains not only political elucidation, but also implications for creating a crude and alive revolutionary culture-struggling against the imitations of European perfection as well as the populist paternalism and "simplicity." Rocha strives politically for imperfection, as he said at the Pesera New Cinema Festival in 1968, since "true modern art-ethically, aesthetically, revolutionary-uses a language to oppose the dominating language... to oppose through the impure aggressiveness...