*DRCLAS Tuesday Seminar
Vote Buying, Healthcare and Sterilization in Brazil
Simeon Nichter*
Academy Scholar, Harvard Academy for International and Area Studies
Tuesday, April 24th, 12:00 p.m.
CGIS South, 2nd Floor, *Room S-250*, 1730 Cambridge Street, Cambridge
This event is free and open to the public, and registration is not
required. A light lunch will be served.
*The Tuesday Seminar is co-sponsored by the Weatherhead Center for
International Affairs.*
*2nd Annual ARTS@DRCLAS / Harvard Film Archive retrospective*
*Nelson Pereira dos Santos, Cinema Novo and Beyond*
*April 20th - May 7th
Harvard Film Archive*, 24 Quincy Street, Cambridge
*The director will be present at three of the screenings -- May 4th, 5th,
and 6th at 7:00 p.m.*
*Details:* http://hcl.harvard.edu/hfa/films/2012aprjun/santos.html
*Contact:* http://hcl.harvard.edu/hfa/contact.html
*The 2nd Annual ARTS@DRCLAS / Harvard Film Archive retrospective is
co-sponsored by the DRCLAS Brazil Studies Program, with additional support
from the Department of Romance Languages and Literatures at Harvard
University.*
*Overview & Schedule:*
It would be impossible to overestimate the tremendous influence of Nelson
Pereira dos Santos (b. 1928) over the dramatic course of modern Brazilian
cinema. Throughout his incredibly prolific and ongoing career spanning
almost half a century, dos Santos has steadfastly dedicated himself to a
mode of politically engaged yet populist cinema diversely embodied in such
classic works as his stirring city symphony, Rio 100 Degrees, his stark
neorealist classic Barren Lives and his ribald tropicalismo masterpiece How
Tasty Was My Little Frenchman. Sharing the daring stylistic innovation that
is one of dos Santos' signatures, these truly landmark films offer
unusually frank explorations of once taboo socio-political issues – class
inequity, poverty, racism – using real non-studio locations from Rio's
sprawling favelas to the remote and barren Northeast region and local
dialects to present an unvarnished and authentic vision of Brazil from
notably distinct perspectives. While Barren Lives reveals dos Santos'
consummate skill adapting great literature for the screen, How Tasty Was My
Little Frenchman is a showcase of his utterly fearless and ambitious
address of the complexities of Brazilian culture and history, here the
history and legacy of colonialism. Spanning an extraordinary range of
styles and genres – from neorealist documentary to avant-grade counter
cinema, from science-fiction to historical bio-pic to anthropological
documentary – dos Santos' remarkable oeuvre is united by his striving to
define a kind of a national cinema able to inspire Brazilian and
international audiences alike.
Born in São Paulo into an intensely cinephilic family of originally Italian
decent, dos Santos did not discover his vocation as a filmmaker until after
completing his university studies in law and next working as a journalist.
After a brief apprenticeship in the commercial cinema, dos Santos landed
his first feature, Rio 100 Degrees which instantly placed him at the very
heart of a raging debate in Brazil about the ideological and cultural
responsibility of the cinema and popular arts to represent the nation, with
dos Santos accused by both the Communist Left and conservative Right of
betraying the "official" image and ideal of Brazil. This experience and a
period studying and traveling in Europe convinced dos Santos of the need to
remain resolutely independent in style and spirit from any official
doctrine, an attitude that would inform all of his work as a director and
screenwriter. For his steadfast dedication to a kind of neorealist
practice, for his uncompromising independence as a director and producer,
but above all for his restless search for quintessentially Brazilian
subjects, dos Santos is credited with paving the way for the efflorescence
of the Cinema Novo movement in the 1960. Indeed, young Cinema Novo
directors such as Glauber Rocha and Joaquim Pedro de Andrade revered dos
Santos as their spiritual leader and senior statesman, and habitually
referred to his films as a major touchstone for their own work.
Offering a rare opportunity to look beyond dos Santos' best-known films,
this retrospective celebrates the incredible diversity of his oeuvre by
including such rarely screened work as his hilarious comic satire El
justicero, his avant-garde Hunger for Love and his zany science-fiction
fantasy Who is Beta? The Harvard Film Archive is honored to welcome and pay
tribute to one of the legendary figures of Latin American cinema.
________________________________
*Friday April 20 at 7pm
Barren Lives (Vidas Secas)*
Directed by Nelson Pereira dos Santos. With Átilá Iório, Maria Ribiero,
Orlando Macedo
Brazil 1963, 35mm, b/w, 100 min. Portuguese with English subtitles
Widely acclaimed as a masterpiece of early Cinema Novo, Barren Lives is
based on the classic novel by Graciliano Ramos revolving around a landless
family facing the extreme conditions of the Northeast Brazilian desert. Dos
Santos imparts a dire treatise on agrarian reform with an austere means of
production and few words. The dialogue that is spoken is often less
directly articulate than the parched land, grating sounds and overexposed,
dizzying views from the eyes of each of the characters, including their
loyal, stoic dog. At the mercy of the contradictory whims of Nature, Fate,
and Authority, the family follows glimmers of hope on a desperate journey
to become “real people.” Dos Santos’ woodcut realism reaches the height of
parable without sacrificing tender nuance and the idiosyncrasies of all
creatures who exist in this arid atmosphere.
________________________________
*Friday April 20 at 9pm
Who is Beta? (Quem é Beta? (Pas de violence entre nous))*
Directed by Nelson Pereira dos Santos. With Fréderic de Pasquale, Sylvie
Fennec, Regina Rosemburgo
Brazil 1973, 35mm, color, 85 min. Portuguese with English subtitles
The critical success in France of How Tasty Was My Little Frenchman made
possible dos Santos’ delirious science-fiction vision of free love in a
post-apocalyptic wilderness besieged by flesh hungry zombies contaminated
by an unnamed nuclear attack. Who is Beta? follows two statuesque survivors
drawn irresistibly together only to be entranced by the arrival and sudden
disappearance of a third, the bewitching raven haired Beta. With its
cartoon-like depiction of extreme violence and desire, Who is Beta? offers
a heady Pop-infused companion to Hunger for Love. Yet beneath its giddy
play of surfaces, dos Santos' underappreciated film gradually reveals a
darkly ambiguous metaphoric dimension.
________________________________
*
Saturday April 21 at 7pm
Golden Mouth (Boca de ouro)*
Directed by Nelson Pereira dos Santos. With Jece Valadão, Odete Lara,
Daniel Filho
Brazil 1963, 35mm, b/w, 100 min. Portuguese with English subtitles
For his first in a long series of wildly imaginative literary adaptations,
dos Santos reinvented Nelson Rodrigues' novel about a pathological gangster
with solid gold teeth and a voracious appetite for women and power.
Embracing radically modernist narrative techniques, Golden Mouth offers a
splintered, refractive portrait of brutal masculinity that returns
repeatedly to the same moment from different vantages, each time revealing
unexpected perspectives on the brutal yet strangely charming criminal.
Lurid and disturbing, Golden Mouth delivers a savage satire of marriage and
class pretensions, revealing a similar venality at the corroded heart of
the sanctimonious bourgeoisie, the moneyed elite and the working class as
they all mercilessly claw their way up and down the rickety and ruthlessly
hierarchical Brazilian social ladder.
________________________________
*Saturday April 21 at 9pm
Rio, 100 Degrees (Rio, 40 graus)*
Directed by Nelson Pereira dos Santos. With Jece Valadão, Glauce Rocha,
Roberto Batalin
Brazil 1956, 35mm, b/w, 100 min. Portuguese with English subtitles
Inspired by Italian neorealism and a fervent desire to forge a brand of
cinema fully engaged with the harsh realities of the class struggle and the
dire blight of poverty in post-WWII Brazil, dos Santos set out to make a
dynamically comprehensive film portrait of his country's most iconic city,
Rio de Janeiro filming on location and using a cast of non-professional
actors. By turning unprecedented attention to the sprawling favelas, or
shanty towns, at the heart of Rio, dos Santos offered an alternate vision
of the city as a dramatic backdrop for its stripped down narrative
following a Sunday in the life of young black peanut vendors as they each
traverse different Rio neighborhoods in order to sell their humble wares.
Dos Santos' first feature proved a dramatic launch of his career when the
film's release was abruptly suppressed by federal officials, who accused
Rio, 100 Degrees of being Communist propaganda and for presenting a
negative image of Rio. Fiery debates about the ban subsequently exploded
within the Brazilian Congress and across the nation until finally the
decision was overturned. Retrospectively heralded by Glauber Rocha as the
developing world's first truly revolutionary film, Rio, 100 Degrees was not
only the first cinematic engagement with the favela, which would become an
iconic and important subject of Brazilian cinema, but also one of the first
films to openly address the stratification of class and race in Brazilian
society.
________________________________
*
Sunday April 29 at 4:30pm
El justicero*
Directed by Nelson Pereira dos Santos. With Arduíno Colasanti, Adriana
Prieto, Márcia Rodrigues
Brazil 1967, 35mm, b/w, 105 min. Portuguese with English subtitles
A shockingly irreverent follow-up to the rural austerity of Barren Lives,
dos Santos’ Godardian social satire owes more than a nod to the
self-conscious antics of the French New Wave. The pampered son of a
general, El Justicero is a hipster playboy who fancies himself a James
Bond/Jean Paul Sartre urban hero. “Archetypical” yet “full of
contradictions,” he sees that justice is achieved for the disadvantaged
while taking advantage of certain bourgeois perks. His exploits are closely
followed and eventually directed by his biographer who decides a film is
not only more lucrative than a book, but it gives him the luxury of
reviewing previous scenes. Unlike Bond, El Jus eventually experiences an
awakening which threatens to compromise the entertainment value and glamour
of his life story.
________________________________
*Sunday April 29 at 7pm
A Very Crazy Asylum (Azyllo Muito Louco)*
Directed by Nelson Pereira dos Santos. With Nildo Parente, Isabel Ribeiro,
Leila Diniz
Brazil 1970, 35mm, color, 83 min. Portuguese with English subtitles
In another literary adaptation – this time Machado de Assis’ novella O
Alienista – and his first color film, dos Santos unleashes an extravagant,
maddening excoriation of Brazil’s military dictatorship of the 1970s. As
usual, the director exploits all cinematic constituents in his palette – a
radically intrusive and discordant soundtrack, non sequitur editing,
exaggerated camera angles and all manner of carnivalesque pageantry – to
illustrate the tale of a doctor/priest on a mission to discover truth
through the study of madness. The population of his asylum grows as his
definition of sanity fluctuates until it finally threatens to incorporate
the entire town. The film’s own irrational reversals and allegorical codes
gleefully mock the arbitrariness of authoritarianism in all its varied
guises.
________________________________
*Monday April 30 at 7pm
Memoirs of Prison (Memórias do cárcere)*
Directed by Nelson Pereira dos Santos. With Carlos Vereza, Glória Pires,
Nildo Parente
Brazil 1984, 35mm, color, 185 min. Portuguese with English subtitles
Dos Santos recreates the memoirs of Graciliano Ramos, the celebrated author
of Barren Lives who was imprisoned in the 1930s under the dictatorship of
Getúlio Vargas. Arrested during a post-rebellion sweep of suspected
communists, the left-leaning intellectual Ramos is taken on a journey
through Brazilian prisons and consequently, a tour of the underground
political histories and ideologies of Brazil. While conditions gradually
worsen, his connection to his fellow prisoners only deepens and his views
on humanity and artistic expression expand. Regardless of which side of the
bars they reside, all are depicted with a remarkable even-handedness and
many of the unlikeliest characters play a part in bringing life to Ramos’
writings and his writing to life.
________________________________
*Special Event Tickets $12 - Nelson Pereira dos Santos in Person
Friday May 4 at 7pm
Rio, Northern Zone (Rio, Zona Norte)*
Directed by Nelson Pereira dos Santos. With Grande Otelo, Malu,
Jece Valadão
Brazil 1957, 35mm, b/w, 90 min. Portuguese with English subtitles
Setting up the gracefully jarring dichotomies that disrupt dos Santos’
otherwise “traditional” film, the opening credit montage features the
discovery of a body on the train tracks while a cookie-cutter Hollywood
soundtrack idly plays. The injured man is Espírito da Luz Cardoso
(literally “Spirit of the Light”), a struggling composer whose sambas unite
and uplift the marginalized Brazilian people in his midst. Based on the
life of composer Zé Keti – who actually appears in the film as the popular
singer Alaor – Espírito’s story unfolds through flashbacks which overflow
luxuriously with song, yet also expose the manifold divisions within Rio’s
social strata. A victim of exploitive businessmen who suck the life out of
his music, Espírito witnesses each of his dreams dashed one at a time by
unrelenting tragedy. Apparently oblivious to his inherent goodness and
irrepressible joy, the plot of the film – much like capitalism’s surge
through 1950s Rio de Janiero – boldly charges forward leaving true beauty
and vitality lying upon its tracks.
________________________________
*Special Event Tickets $12 - Nelson Pereira dos Santos in Person
Saturday May 5 at 7pm
How Tasty Was My Little Frenchman (Como era gostoso o meu francês)*
Directed by Nelson Pereira dos Santos. With Ana Maria Magalhães, Arduíno
Colasanti, José Kleber
Brazil 1972, 35mm, color, 84 min. Portuguese with English subtitles
In keeping with Cinema Novo’s reappropriation of Brazilian culture from its
Western absorption, dos Santos travels to the colonial crime scene of 16th
century Brazil. A French Huguenot is captured by the Tupinambá and
participates in their culture for several months prior to his planned
execution. This insider/outsider perspective – similar to that bestowed
upon anthropologists and documentary filmmakers – is one of many methods
dos Santos uses to constantly undermine and call into question narrative
authority. No particular character, sex or culture emerges more “savage”
than the other, no single point of view directs the action, and no heroes
or other cinematic tropes lay claim to the audience’s sympathies. Using a
naturalistic verité camera and interspersing actual historical texts, dos
Santos crafts a thoroughly subversive reevaluation of “official” histories
and mythologies. In the face of subjects who utterly defy objectification
or total comprehension, the audience is forced into actively engaging with
that which they wish to consume.
________________________________
*
Sunday May 6 at 5pm
Hunger For Love: Have You Ever Sunbathed Completely Nude? (Fome de Amor:
Você nunca tomou sol inteiramente nua?)*
Directed by Nelson Pereira dos Santos. With Leila Diniz, Arduíno Colasanti,
Irene Stefânia
Brazil 1968, 35mm, b/w, 76 min. Portuguese with English subtitles
An extended research tour of US university film programs introduced dos
Santos to the American avant-garde filmmakers, among them Jonas Mekas and
Stan Brakhage, who would directly inspire his formally radical adaptation
of an allegorical short story about adultery and colonialism by Guilherme
de Figueiredo. Filmed in both Manhattan and Brazil and set against the
background of the Vietnam War and its protests, Hunger for Love uses a
rigorously abstract soundtrack and narrative structure to evoke the acute
paranoia of the period building up to the December 1968 military coup that
tipped Brazil perilously close to a conservative dictatorship. With its
harsh critique of the decadent tendencies of the Sixties counterculture,
Hunger for Love offers a key expression of the self-consciously
“ideological” phase of Cinema Novo.
________________________________
*
Special Event Tickets $12 - Nelson Pereira dos Santos in Person
Sunday May 6 at 7pm
Music According to Tom Jobim*
Directed by Nelson Pereira dos Santos
Brazil 2011, digital video, color & b/w, 88 min. Portuguese with English
subtitles
Santos' latest film is a celebratory documentary tribute to Antonio Carlos
“Tom” Jobim that gathers together a wonderfully wide range of the best
interpretations of Jobim’s now canonical ballads, sung by the likes of Judy
Garland, Ella Fitzgerald and Caetano Veloso.
________________________________
*
Monday May 7 at 7pm
The Third Bank of the River (A Terceira Margem do Rio)*
Directed by Nelson Pereira dos Santos. With Ilya São Paulo, Sonia Saurin,
Maria Ribeiro
Brazil/France 1993, 35mm, color, 98 min. Portuguese with English subtitles
After an extended period directing original screenplays, dos Santos
returned to the creative engagement with literature that was the wellspring
of his early masterpieces, offering a combinatory adaptation of five
stories by the renowned Brazilian novelist João Guimarães Rosa. Openly
embracing a mode of magical realism, dos Santos' celebrated film tells the
story of a farming family defined by the absence of its father who abruptly
abandoned his wife and children, sailing away down the river, including his
son who continues to communicate with his father, speaking daily to him
from the river bank. While offering an evocative vision of rural Brazil as
a timeless land of mystery and solemnity, The Third Bank of the River is
also bitingly satiric in the remarkable depiction of religious belief when
the family moves to the city and its youngest member, a mesmerizing little
girl, is revealed to be a kind of saint, capable of miraculous acts. In a
gesture back to his earliest work about rural Brazil, dos Santos cast as
the lonely mother Maria Ribeiro, star of Barren Lives.
*Robert F. Kennedy Visiting Professor in Latin American Studies Lecture
Divining Slavery and Other Diseases: An African Priest in
Nineteenth-Century Brazil
João José Reis*
Professor of History, Universidade Federal da Bahia (UFBA)
Robert F. Kennedy Visiting Professor of Latin American History, Harvard
University
*Thursday, April 19th, 6:00 p.m.*
CGIS South, 2nd Floor, *Room S-216*, 1730 Cambridge Street, Cambridge
This event is free and open to the public, and registration is not required.
*DRCLAS Brazil Studies Program Seminar
The Expulsion of Drug Gangs from Rio Slums: The View of the Electric Utility
Jerson Kelman*
President, Light Group
Thursday, April 19th, 12:00 p.m.
CGIS South, Room S-050, 1730 Cambridge Street, Cambridge
This event is free and open to the public, and registration is not
required. A Brazilian lunch will be served.
*Co-sponsored by the Harvard-MIT Workshop on the Political Economy of
Development in Brazil and the Harvard Electricity Policy Group.*
*10th Annual Brazil Week at Harvard
H**ealth**care and Portuguese-speaking Immigrants in the U.S.: The Case of
Massachusetts*
*
*
The objective of this year's Brazil Week at Harvard is to promote the
exchange of ideas and experiences among students, researchers, community
organizers, and healthcare professionals who interact with the local
Portuguese-speaking community.
*
*
*Wednesday, April 18th to Friday, April 20th*
*Details:* http://www.drclas.harvard.edu/events/brasil_week_april18
*Full sc**hedule:*
http://www.drclas.harvard.edu/files/Brasil%20Week%20Program%202012.pdf
*Free online registration:*
http://www.drclas.harvard.edu/brazil/events/brazilweek2012-registration
All Brazil Week events will be held at the CGIS South Building at 1730
Cambridge Street in Cambridge. The events on Wed 4/18 and Fri 4/20 will be
held in Room S-020. The event on Thu 4/19 will be held in Room S-050.
Please register online at
http://www.drclas.harvard.edu/brazil/events/brazilweek2012-registration
*Brazil Week is co-sponsored by the DRCLAS Brazil Studies Program and the
Portuguese section of the Department of Romance Languages and Literatures
at Harvard University.*
*DRCLAS Tuesday Seminar
The Olympics, the State and (Dis)organized Crime in Rio de Janeiro
Robert Gay*
Professor and Chair of the Department of Sociology, and Director of the
Toor Cummings Center for International Studies and Liberal Arts (CISLA),
Connecticut College
*
Tuesday, April 17th, 12:00-2:00 p.m.*
CGIS South, Room *S-250*, 1730 Cambridge Street, Cambridge
Contact: Sophie Jampel, sjampel(a)fas.harvard.edu
This event is free and open to the public, and registration is not
required. A light lunch will be served. Opportunity for comments and
questions to follow presentation.
*The Tuesday Seminar is co-sponsored by the Weatherhead Center for
International Affairs.*
*Bate-Papo (Portuguese conversation practice)*
Practice your Portuguese and discuss Brazil and other Portuguese-speaking
countries and cultures at this informal roundtable. Everyone is welcome!
Guaraná and salgadinhos will be served.
This is the final *Bate-Papo* of the 2011-2012 academic year.
*Friday, April 13th, 3:00-4:30 p.m.
*
CGIS South, Room S-216, 1730 Cambridge Street, Cambridge
*Co-sponsored by the DRCLAS Brazil Studies Program and the Portuguese
section of the Department of Romance Languages and Literatures at Harvard.*
*DRCLAS Brazil Studies Program Seminar
The Expansion of Higher Education in Brazil and the Challenge of
Affirmative Action Programs
Marcia Lima*
Professor of Sociology, Universidade de São Paulo
Lemann Visiting Scholar, Columbia University
Thursday, April 12th, 12:00 p.m.
CGIS South, Room S-050, 1730 Cambridge Street, Cambridge
This event is free and open to the public, and registration is not
required. A Brazilian lunch will be served.