Cinema, samba, canção e improviso: cadências de vanguarda no filme brasileiro (1957-1987)

Abstract

This research accompanies the presence of the popular song in the Brazilian cinema until the middle of the 1980s, seeking to position samba as articulator of mise-en-scene, from the notion of improvisation, in specific examples, which specifically focuses on examples located in eight Films produced and / or released between 1957 and 1987. It is proposed to identify and analyze the use of improvisation, identified as avant-garde practice, in certain scenes that maintain relations of meaning with samba by making the musical genre dramatic element, representation panel Social or one of the lines of force of its aesthetic constitution. The exploration sought, in a way, to take into account the expression of the modern in the Brazilian cinema (XAVIER, 2006), highlighting, for this purpose, manifestations of the cinematographic form from procedures of open result in the films in clipping when manipulating and interacting with Which, in the domains of the varied musical form of samba, is understood as improvisation.I recognize from the beginning the difference between improvisation in samba performance - in the tradition of samba wheels or, in certain conditions, in stage / concert shows - and in the performance of creating a movie. The presence factor of an audience, public listener and potential participant, in the first case, before the passivity of the spectator sitting in the dark room, is determinant to define the terms of analysis of the relationship between the two languages. The forced fixation of the result of any cinematographic poetry in a medium (film, digital repository), before the ephemerality of a samba presentation, is another given terms.I wanted to verify the strategies and results of improvisation as an artistic procedure, both in cinematographic and musical language, capable of emulating and even determining the poetics of a film. I have worked mainly with works of short and long duration of the period of establishment and affirmation of the modern in the Brazilian cinematography, as well as some later titles that unfold experiences around this notion of modernity: Rio Zona Norte (1957), Nelson Pereira dos Santos; Barravento (1960/61), by Glauber Rocha; The challenge (1965), by Paulo Cesar Saraceni; The Woman of All (1969), by Rogério Sganzerla; Nelson Cavaquinho (1969), by Leon Hirszman; Di Cavalcanti (1977), by Glauber Rocha; Bahia of all sambas (1983/96), by Hirszman and Saraceni; And Jubiabá (1987), by Nelson Pereira dos Santos.I propose, therefore, pictures of interpretation capable of accounting for the senses generated from the articulation of the images with the soundtrack, accompanying the expression of modernity that is supposed to be immanent in the chosen examples. The proposed case studies relate angular moments of the production of some of the main directors of the so called Brazilian modern cinema to famous trajectories of the national music: Zé Kéti, Batatinha, Noel Rosa and Nelson Cavaquinho.