Towards an Intermedial History of Brazilian Cinema

Contents
List of Figures
The Contributors
Acknowledgements
Introduction
Part I Intervisuality
1 Traffic in Images: Visual Spectacle before Cinema in Brazil
2 Intermedial Landscapes in the Work of Cao Guimarães
3 ‘The most innocent film of the year’: Comic Books, Sex and Cinema Marginal
4 Photographs of the Invisible: Intermedial Figurations of Social Exclusion in Babás and Aquarius
5 Exploring the Cinematic Imaginary: Carlos Adriano, André Parente and the Precision of the Vague
Part II The Empire of Music
6 Watson Macedo’s Aviso aos navegantes (1950): Reflections on the Musical Numbers of a Brazilian Chanchada
7 (In)Visible Musicians: Supporting Instrumentalists and their Intermedial Vocation
8 Music-video Aesthetics in Pernambucan Cinema
9 Possessing Archival Images: Ghosts, Songs and Films in Cartola – música para os olhos (2007)
Part III Entertainment Circuits
10 Intermediality in Brazilian Silent Cinema: Luiz de Barros’s Works and Intermedial Strategies
11 ‘Synchronised Film Fever’ amid the ‘Gramophonoradiomania’: Record, Radio and Cinema at the Dawn of the ‘Talkies’ in Rio de Janeiro
12 The Singer, the Acrobats and the Bands: A Study of Three Brazilian Films and their Intermedial Characters
13 Gilda de Abreu’s O Ébrio as a Unique Intermedial Project
14 Chanchada, Samba and Beyond: From the Cinema of Radio to the Cinema of Television (1930s–1960s)
Part IV From Impure Cinema to Cosmopoetics
15 Impure Cinema as Method: The Last Films of Eduardo Coutinho
16 Queering Intermediality in Brazilian Cinema
17 The Humiliation of the Father: Theatrical Melodrama and Cinema Novo’s Critique of Conservative Modernisation
18 Intermedial Territories: Maps and the Amazonian Moving Image
19 An Intermedial Reading of Glauber Rocha’s Cosmogony
Index