Word: rochas
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...Glauber Rocha, director of Antonio das Mortes, describing the style of William Faulkner...
...exclusively in two flat planes: one straight across the frame, the other straight into it. The figure in the left of the frame is opposed to the figure in the right, and the actors in the foreground fight the crowds toward the back. In this closed form of thesis/antithesis, Rocha's open form occurs when he transforms one opposition into another. Rocha's shots are set, closed, until he brings in a new term of antithesis: he pans roughly till the camera picks up a new character on one side, causes a new figure to enter the shot, or cuts...
...Rocha cuts to a shot of a government-sponsored parade that is the mirror-image of the revolutionaries': uniformed children ordered in rank and file march stiffly away from the camera, part of a declining historical movement. In the background we see Antonio das Mortes, an old hired killer of cangaceiros, standing detached and pushed back from the ruling class's social order-the mirror of his counterpart the cangaceiro, he is pushed away from the camera instead of into it. A rich landowner's emissary, Dr. Matos, comes up to Antonio and with great difficulty (personal dialectical relationship) induces...
Thus the level and the nature of the dialectic evolve continuously as the terms of the dialectic change. Rocha's dialectical method is a perfect dramatic form: it moves fluidly from the personal to the collective level to the mythic, and back...
...given criteria, and relate to possible criteria for formal choices, not strikes or demonstrations. Their political films are about making political films. Works like See You at Mao and Pravda are definitely not intended to incite the masses; rather they are to serve as objects of analysis for Glauber Rocha, Chris Marker's SLON group in Belgium, the Medvedkin group in France, and other cadres of political filmmakers wrestling with the creation of revolutionary forms...