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The Aesthetics of Garbage, Part 2

The Aesthetics of Garbage, Part 1 can be found here.

Above: O insigne ficante (The Inisg Nificant, 1980).

“Make films to occupy run down, low class theatres and be subsequently forgotten” —Rogério  Sganzerla

One of the quintessential traits of Cinema Novo was the firm rejection of anything Hollywood; films like The Red Light Bandit and O pornógrafo (The Ponographer, 1970) by João Callegaro on the contrary, eagerly cannibalized popular American culture. Cultural appropriation is manifest throughout Callegaro's film, which openly references noir flicks whose aesthetic codes and conventions are borrowed and subverted by the director. While retaining an unmistakable Brazilian flavour these films openly boast their spoofy hybridism, combining high and low culture at a time when the term post-modernism had yet to be coined. True inheritors of Oswald De Andrade’s Anthropophagic Manifesto, these were metropolitan indians suffocated by the orthodox traditionalism of the left on one side and by an increasingly oppressive regime on the other.

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