The question of cinematic language in this discussion of the nationality and popularity of Brazilian cinema has become the Achilles heel of the terms “national” and “popular” in the history of our cinema. Because the main objective in this period until the first half of the last century (the 1950s) was to achieve in quality at the same level as foreign films. Importantly, equating with foreign quality could be a strong way for Brazilian films to compete with each other and not with foreign films. For the survival of Brazilian films in the market has always been perennial in our cinematic history. You can visit https://real-couchtuner.com/all-movies for the best results.
To understand one of the common ways our producers and filmmakers take on a similar quality to foreign films, some important names from the beginning of our cinematic history, such as Eduardo Abelim, Humberto Mauro, among others, stated that the best way to learn how to do national movies was to go to a movie theater and watch very carefully foreign films or in a more privileged situation, as José Medina and Alex Vinay did, spend a season attending the big studios to learn how to make cinema with the great masters of the seventh art.
Characteristics of Cinema
Thus, what characterized the national cinema is the raw material, whether it is understood as the central theme of the cinematographic work and not the method of realization of cinema, which is universal, where it matters so much whoever does it, whether this director and Brazilian or foreign producer, even if this “raw material” is exported, as happened to the great Brazilian cinema artists of the first decade of the last century, such as Lia Torá, Olympio Guilherme, Raul Roulien and Carmem Miranda who went to work in Hollywood star system, taking with them each the Brazilian and even Latin American themes, as in the films that commonly put Brazilians and Argentines in one place.
This so-called universalism inherent in cinematic language is sometimes seen as imitation, as a synonym for subservience to foreign canons, sometimes as ignorance of the reality of Brazilian customs and culture, where this kind of importation of technology brings with it a fear of innovating and producing a brand. In order to overcome this qualitative dependence, there are two tendencies of Brazilian representation in cinema in the history of Brazilian cinema: rural Brazil and urban Brazil.
In the first trend
There is the exaltation of the nature and customs and ways of living of the interior of Brazil, as a simple, rustic, naive and carefree life of the sertanejo people. In the second trend, there is a visualization of urban progress, with a strong documentary appeal, even if this representation identifies distinct places in Brazil, such as São Paulo, Rio Janeiro and even Minas Gerais and Bahia. This does not mean that there is a regionalization through regional representation, but rather a representation of Brazil as a nation, through national progress, which resembles the different states in the transformations that occurred in the large Brazilian cities, as well as their ills, brought about by the excesses.