Historical Cinema

Alcemar Oliveira Since its sprouting, the cinema reflects the moment social where it is produced. The first productions already brought notes of dither or dissatisfaction with the status quo, guarded or not, translating the perception of the producer who, such which the teacher with its baton, leads the accomplishment of the workmanship using its sensitivity and ideology. The society, complex that is, it supplies to the substance cousin cineasta, and this, in turn, transforms the social fact into a cinematographic workmanship. E, in the ample excellently social conception in fact, has of if including, the politician and the description, among others. History walks side by side with the cinema, and it folloies it to this as revealing form of the convulsions politics of a nation.

The context politician is presented in the cinema having obeyed or not it effective government: acting as propaganda politics, as the production of Leni Riefenstahl for the nazista regimen and of Carlos Borcosque, whom if it submitted to the Peronist orientation of the decade of 1950 in Argentina. In the inverse hand of the cinema as propagandistic agent of the regimen, it is a cinema ' ' marginal' ' , that one produced without support of the State, or on people it, or that they share of the same interests, ideological or not. As well as the conflict it is for the international politics, the insatisfao politics that if manifest in the society is for the said cinema ' ' marginal' '. the cinema before kept out of society if becomes one ' ' cinema poltico' ' , in antagonism to the state propaganda, more worried in propagating mazelas official. Century XX, the century of the cinema, was also a period of movements extremely authoritarian politics and that they had made of cineastas agents in charge internationally portraying and publishing the exercise of the State of exception.

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Bill

April 17th


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