Cultural markers in the Brazilian film O auto da Compadecida and its subtitles in English

This article proposes a typology of translation of cultural markers in subtitles and uses as research material the film O auto da Compadecida (Arraes, 2000) in Brazilian Portuguese and its translation, A dog's will (Magrath, Videolar, 2000). The difficulty that cultural markers generate during various translation processes is evident and is accentuated in audiovisual works, in which different elements converge (text, image, sound design, soundtrack, body language, among others). To contribute to its analysis in this context, we used the concept of cultural marks and markers (Reichmann and Zavaglia, 2014), translational modalities (Aubert, 2006b), and considered translation techniques (Nunes, n.d.) to arrive at the typology presented here, followed by examples and illustrations.

Preferential Attachment and Fitness in the Evolution of the Brazilian Film Network

This study analyzes the network evolution, specifically that of the Brazilian film network. It examines two generative mechanisms that lie behind the network evolution: preferential attachment and fitness. The starting point is that preferential attachment and fitness may compete to shape the network evolution. We built a novel dataset with 974 Brazilian feature films released between 1995 and 2017 and used PAFit, a brand-new statistical method, to estimate the joint effects of preferential attachment and fitness on the evolution of the Brazilian film network. This study concludes that the network evolution is shaped by both preferential attachment and fitness. However, in the presence of fitness, the effects of preferential attachment on the network evolution become weaker. This means that the node ability to form ties in the Brazilian film network is mainly explained by its fitness. Besides, the preferential attachment assumes a sub-linear form. Costs, communication and managerial capabilities, and node age explain why nodes are unable to accumulate ties at rates proportional to their degree. Finally, preferential attachment and fitness manifest themselves heterogeneously, depending on either the type or the duration of the network. Preferential attachment drives the cast network evolution, whereas fitness is the main generative mechanism of the crew network. Actors and actresses rely on their status, privilege, and power to obtain future contracts (preferential attachment), whereas technical members are selected on the basis of their talent, skills, and knowledge (fitness). Due to node age or exit, preferential attachment becomes stronger in shorter networks.

Ligação Preferencial e Aptidão na Evolução da Rede de Filmes Brasileiros

This study analyzes the network evolution, specifically that of the Brazilian film network. It examines two generative mechanisms that lie behind the network evolution: preferential attachment and fitness. The starting point is that preferential attachment and fitness may compete to shape the network evolution. We built a novel dataset with 974 Brazilian feature films released between 1995 and 2017 and used PAFit, a brand-new statistical method, to estimate the joint effects of preferential attachment and fitness on the evolution of the Brazilian film network. This study concludes that the network evolution is shaped by both preferential attachment and fitness. However, in the presence of fitness, the effects of preferential attachment on the network evolution become weaker. This means that the node ability to form ties in the Brazilian film network is mainly explained by its fitness. Besides, the preferential attachment assumes a sub-linear form. Costs, communication and managerial capabilities, and node age explain why nodes are unable to accumulate ties at rates proportional to their degree. Finally, preferential attachment and fitness manifest themselves heterogeneously, depending on either the type or the duration of the network. Preferential attachment drives the cast network evolution, whereas fitness is the main generative mechanism of the crew network. Actors and actresses rely on their status, privilege, and power to obtain future contracts (preferential attachment), whereas technical members are selected on the basis of their talent, skills, and knowledge (fitness). Due to node age or exit, preferential attachment becomes stronger in shorter networks.

Bacurau: The ‘Deep Brasil’

Review of the Brazilian film, Bacurau.

Entre Macacos e Anjos (2019), a utopia do 17º filme brasileiro

The intention of the text that follows seeks to reflect on the self-explanatory desires of the artistic direction of the Brazilian film, recently made by Elizeu Ewald, Entre Macacos e anjos (2019) and the results obtained by his edited images, under the different optics, of the diegétic dialectic to the merely dramatic, in terms of common narrative, in challenging the viewer to demystify the kinetic text.

Vinte anos de cinema brasileiro: compreendendo a cultura cinematográfica no Brasil no século XXI

Resumo Remapping Brazilian film culture in the twenty-first century, de Stephanie Dennison, reflete sobre as transformações da cultura cinematográfica no Brasil nos últimos vinte anos, observando o papel desempenhado pelo cinema nacional no período que marcou a ascensão e o declínio da “Era Lula”. Seu olhar pautado pelos estudos culturais e por um profundo conhecimento do cinema brasileiro embasam essa análise retrospectiva que contribui para a compreensão das conquistas artísticas, econômicas e culturais obtidas em quase duas décadas de políticas públicas voltadas para o audiovisual.

O sujeito na fala fílmica brasileira

The present study, based on a corpus of contemporary Brazilian film dialogues (Sub-Corpus Carioca Urbano, Corpus I-Fala, Luso-Brazilian Film Dialogues as a resource for L1 & L2 Learning and Linguistic Research), illustrates how Brazilian Portuguese (BP) has undergone a process of change in the representation of referential subjects, with preference for overt pronominal subjects, passing from being a null subject language to being a partial null subject language. Thus, the current work revisits De Rosa (2017) by including 3rd person subjects and using film dialogue transcriptions (not scripts) and discusses the presence of null and overt subjects in the corpus, both quantitatively and qualitatively. The study also compares the filmic data to spontaneous speech and shows a basically conservative nature of the former.

Null subjects in contemporary Brazilian filmic speech

The present research, based on a corpus of contemporary Brazilian filmic speech – Urban Carioca Sub-Corpus from the I-Fala Corpus of Luso-Brazilian Film Dialogues as a resource for L1 & L2 Learning and Linguistic Research (DE ROSA et al., 2017) –, illustrates how Brazilian Portuguese (BP) has undergone a process of change regarding the representation of referential subjects. A preference for overt pronominal subjects is on the rise, thus transitioning contemporary Brazilian Portuguese from a null subject language to a partial null subject language. The current paper revisits De Rosa (2017), this time including third person subjects and using actual film dialogue transcriptions rather than scripts. The occurrence of null and overt subjects in the corpus is discussed both quantitatively and qualitatively. -----------------------------------------------------------------------------------------SUJEITOS NULOS NA FALA FÍLMICA BRASILEIRA CONTEMPORÂNEAO presente contributo, baseado numa amostra de fala fílmica brasileira contemporânea – Urban Carioca Sub-Corpus do I-Fala: Corpus of Luso-Brazilian Film Dialogues as a resource for L1 & L2 Learning and Linguistic Research (DE ROSA et al., 2017) –, propõe-se observar o processo de transformação que está atingindo o português brasileiro (PB) que está perdendo, à luz de toda uma série de mudanças linguísticas, as caraterísticas de uma língua de sujeito nulo. Nesse contributo, revisitamos De Rosa (2017), incluindo os sujeitos de terceira pessoa, sempre com o objetivo de registrar, em termos quantitativos e qualitativos, a presença do sujeito pleno nos diálogos fílmicos analisados e de confrontar os resultados com os dados da fala espontânea.---Original em inglês.

Chanchadas and intermediality

This audiovisual essay investigates the intermedial nature of Brazilian film comedies produced during the 1940s and 50s by exploring the musical numbers of Aviso aos navegantes (Calling All Sailors, Watson Macedo, 1950). Brazilian cinema of this period is a privileged arena of different media strategies. Its “mixed” style is informed by Hollywood cinema but also by the domestic influence of radio, Carnival, and by the local forms of comic staging of the teatro de revista (the Brazilian equivalent of music hall or vaudeville). Of particular interest in this regard are the chanchadas, a body of films made between the mid-1930s and the early 1960s, that presented musical performances intertwined with comic situations, slender narrative lines and strong connections with the world of Carnival. Our aim is to show how the relationships between the different forms of cultural production in 1950s Brazil can be identified in a specific chanchada, opening a dialogue between musical performances on stage, over the radio, at Carnival and on screen. The essay also examines similarities and differences between chanchadas and the Hollywood musical comedy tradition. One area explored is integration, both in the sense in which it is often used in film studies, to discuss the relationship between the numbers and the narrative, and in reflecting on whether the different elements which feed into the numbers of Aviso aos navegantes are seamlessly combined in the film. Despite the huge popular success of his films, Watson Macedo was considered by many as the most “Americanised” of the directors of that period, adhering less to the critical mechanisms of parody than was the case with his contemporaries. However, if we pay attention to Macedo’s musical numbers, it is evident that these performances are not imperfect copies of Hollywood originals, but have a logic of their own. This audiovisual essay complements Flávia Cesarino Costa’s other contribution to this issue of Alphaville, the article “Building an Integrated History of Musical Numbers in Brazilian Chanchadas”, by exploring related ideas in the context of a single film. As well as the interest of the video essay’s own exploration and argument, the pairing of essays—traditional and videographic—enables readers of this issue to pursue their thinking about chanchadas and intermediality with specific audiovisual material in front of them