Caminhões caindo da ponte librettist

01. O DIARIO DE TRAJANO DE MAGALHAES BARBALHO

APRESENTACAO

O texto dessa pagina foi extraído de um caderno de notas de TRAJANO DE MAGALHÃES BARBALHO (1890-1969). Foi duas vezes prefeito de Virginópolis – MG. A entrada mais antiga data de 1932 e a mais recente de 1964.

Existe a menção a 1930, data na qual inicia-se o período histórico brasileiro conhecido como Estado Novo. O que em realidade torna-se o motivo primário das anotações.

Essas notas, parece, foram feitas sem a intenção de publicar, e sim para deixar para os filhos uma lembrança dos fatos políticos que lhes atropelaram a vida. Elas versam primordialmente a respeito da politica interna do município, então, recentemente criado (09.03.1924) de Virginópolis.

A cidade anteriormente havia sido parte do imenso município da Vila do Principe (Serro) foi passado e retornado por Conceição do Mato Dentro, indo fazer parte depois do grande município de Guanhães (1875-1879).

Em 1924 Virginópolis adquiriu sua autonomia, levando consigo um território ainda grande, que mais tarde teria de si emancipadas 5 cidades: Divinolândia de Minas, Gonzaga, Santa Efigenia, Sardoá e São Geraldo da Piedade. Partes do município foram incorporados ao de Governador Valadares quando essa emancipou-se de Peçanha (1940).

Esses municípios se localizam no Centro-Nordeste do Estado de Minas Gerais, suas aguas fazem parte do Vale do Rio Doce e o antigo território em sua maior parte situa-se no platô formado pela Serra do Espinhaço, de onde as aguas se jogam em corredeiras e cachoeiras no vale profundo do rio mestre.

A diferença de altitude entre o leito e o platô, naquele ponto, se faz de uns 300 metros pelo menos. O que provoca diferenças de temperaturas ambientes consideradas quentes e húmidas no leito e temperadas e agradáveis nas

Simply put, Carlos Adriano’s A Voz e o Vazio: A Vez de Vassourinha (1998) stands in the ranks as one of the most important experimental works of cinema to come out of Brazil in the last 25 years. Adriano’s position as the country’s eminent found-footage filmmaker was solidified with his previous film, Remainiscences (1997), in which he rephotographs what is allegedly the first cinematographic footage to be shot in Brazil, — 11 frames of the waves hitting a pier, captured by Cunha Salles in 1897 — and transforms the material into a cornucopia of light and flicker, illustrating the sea changes in technique and metaphysical condition that cinema had gone through within the twentieth century. Vassourinha approaches the question of the archive with an opposite methodology, collecting and projecting as many different materials centered around one figure as Adriano could find, to compose a work that intensely reconstructs the short period of time lived by Mário de Oliveira Ramos, the sambista known as Vassourinha prior to his death in 1942 at the age of 19. A very popular musician in his own time, Vassourinha fell victim to what many have described as Brazil’s short cultural memory, as he became quickly forgotten after his passing. Vassourinha is thus not an act of mourning, but one of resurrection, where Adriano imbues these images and sounds with renewed life through montage, arranged under the twin poles of cinema and samba.

We are still catching up with Zózimo Bulbul’s Abolição. The two-and-a-half-hour documentary is an unflinching rumination on the state of Black life in Brazil one hundred years following the Lei Áurea, the law that officially ‘abolished’ slavery in the country. Abolição seeks to point out that the Lei Áurea was, in the words of Marcell Carrasco, “a farcical scam”. Director Zózimo Bulbul and his nearly all-Black film crew travel throughout Brazil exploring the remaining traces of colonialism and the ever-present existence of racism th

Brazilian director Nelson Pereira dos Santos is interviewed by Mateus Araujo at the Academia Brasileira de Letras in Rio de Janeiro, Brazil, on March 22, 2016. It is a co-production with the Getty Foundation’s Pacific Standard Time: LA/LA initiative and is part of the project From Latin America to Hollywood: Latino Film Culture in Los Angeles 1967-2017.

Dos Santos begins by discussing his childhood in São Paolo. He speaks of his liberal-minded parents and wonderful education. Reminiscing over the first book his father ever bought him, The Poetry of Machado de Assis, he describes his background as more literary than cinematic. He credits his great schoolteachers for encouraging his love of Brazilian literature. He talks about his affiliations to the Brazilian Communist Party and shares his journey from studying law to working as a journalist and film critic to finally making films. Starting with his first film, the documentary short Juventude (1949), he reflects on his career as a filmmaker. He speaks of his admiration for Brazilian writers Jorge Amado and Graciliano Ramos and asserts his belief that cinema should serve literature. Having spent some months in Paris in 1949, he cites European cinema as strongly influencing his film work, specifically mentioning Luis Buñuel, Jean Renoir and Jean Vigo. He remembers his first professional job as assistant director working on Rodolfo Nanni’s film O Saci (1951) and describes relocating to Rio to work as an assistant on Alex Viany’s Agulha no palheiro (Needle in the Haystack, 1953). He talks about living in Rio and how experiencing life in the Jacarezinho neighborhood inspired him to make Rio, 40 graus (Rio, 100 Degrees F., 1956). He asserts that this film, with its emphasis on social equality and intellectualism, paved the way for Cinema Novo.

Dos Santos shares his experiences of working alongside influential people from the Brazilian motion picture industry. He describes hi