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76-506: The studio's first production was Moleque Tião , but its success came from the genre known as chanchada , low-budget films with great popular appeal, such as Nem Sansão nem Dalila , Carlos Manga's Matar ou Correr , and Watson Macedo's Aviso aos navegantes featuring Anselmo Duarte. This genre dominated the market until the mid-1950s, promoting such artists as Grande Otelo , Oscarito , Zé Trindade , Cyl Farney , Eliana Macedo , Julie Bardot , and Fada Santoro . This article about

152-420: A departure from what he considered to be the colonizer's view, to whom poverty was an exotic and distant reality, as well as the colonized who regarded their third world status as shameful. He sought to portray misery, hunger and the violence they generate and thus suggest the need for a revolution. Deus e o Diabo na Terra do Sol and Terra em Transe are some of his most famous works. Other key directors of

228-438: A film production company or film distributor is a stub . You can help Misplaced Pages by expanding it . This Brazilian corporation or company article is a stub . You can help Misplaced Pages by expanding it . Chanchada Brazilian cinema was introduced early in the 20th century but took some time to consolidate itself as a popular form of entertainment. The film industry of Brazil has gone through periods of ups and downs,

304-620: A mocking of the English word underground . Also popular was Zé do Caixão , the screen alter ego of actor and horror film director José Mojica Marins. Associated with the genre is also the pornochanchada , a popular genre in the 1970s. As the name suggests, these were sex comedies, though they did not depict sex explicitly. One key factor as to why these marginal films thrived was that film theaters were obliged to obey quotas for national films. Many owners of such establishments would finance low-budget films, including those of pornographic content. Though

380-620: A reflection of its dependency on state funding and incentives. A couple of months after the Lumière brothers ' invention, a film exhibition was held in Rio de Janeiro. As early as 1898, Affonso Segreto supposedly filmed the Guanabara Bay from the ship Brésil on a return journey from Europe, though some researchers question the veracity of this event as no copy of the film remains. He would go on to make documentaries with his brother Paschoal Segreto. From

456-483: A unified national state until 1861. Before then, Italy was politically divided into several kingdoms, duchies, and other small states. The legacy of political fragmentation influenced deeply the character of the Italian migrant: "Before 1914, the typical Italian migrant was a man without a clear national identity but with strong attachments to his town or village or region of birth, to which half of all migrants returned." In

532-462: Is automatically recognized as an Italian citizen . To exercise the rights and obligations of citizenship, individual must have all documents registered in Italy, which normally involves the local consulate or embassy. Some limitations are applied to the process of recognition such as the renouncement of the Italian citizenship by the individual or the parent (if before the child's birth), a second limitation

608-515: Is estimated that, between 1890 and 1904, 223,031 (14,869 annually) Italians left Brazil, mainly after failed experiences on coffee farms. Most of the Italians who left the country were unable to add the money they wanted. Most returned to Italy, but others remigrated to Argentina, Uruguay or to the United States. The output of immigrants concerned Brazilian landowners, who constantly complained about

684-454: Is often Oscarito's sidekick. The two of the actors became widely popular throughout Brazil as an amazing comical duo. Otelo, would see much of the humor falling on him at the time due to his Afro-Brazilian characteristics, while Oscarito became the comical foil in the film, a more pale-toned man with like characteristics. The two helped to display the diversity in Brazilian cinema to reflect on

760-738: Is that women transferred citizenship to their children only after 1948. After a constitutional reform in Italy, Italian citizens abroad may elect representatives to the Italian Chamber of Deputies and the Italian Senate . Italian citizens residing in Brazil elect representatives together with Argentina , Uruguay and other countries in South America. According to Italian Senator Edoardo Pollastri, over half-a-million Brazilians are waiting to have their Italian citizenship recognized. Italy did not become

836-630: Is that, through this system, though films are no longer directly controlled by state , they are, nevertheless, subject to the approval of entrepreneurs who are logically cautious as to which content they wish to associate their brands . Even with funding, there are still areas that require some struggle from filmmakers, such as distribution, television participation and DVD release. Italian Brazilian Italian Brazilians ( Italian : italo-brasiliani , Portuguese : ítalo-brasileiros ) are Brazilians of full or partial Italian descent, whose ancestors were Italians who emigrated to Brazil during

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912-636: The Boca de Lixo area in São Paulo. In 1968, Rogério Sganzerla releases O Bandido da Luz Vermelha , a story based on an infamous criminal of the period. The following year Júlio Bressane's Killed the Family and Went to the Movies ( Matou a família e foi ao cinema ) came out, a story in which the protagonist does exactly what is described by the title. Marginal cinema of this period is sometimes also referred to as "udigrudi",

988-449: The Italian cinema 's style, popular between São Paulo 's cultural elite in that time. Vera Cruz films were highly commercialized, which led some directors to begin experimenting with independent cinema. This movement away from commercialized Vera Cruz style films came to be called Cinema Novo , or New Cinema. Vera Cruz eventually bankrupted and closed. Rocha often spoke of his films as being

1064-451: The Italian diaspora , or more recent Italian-born people who've settled in Brazil. Italian Brazilians are the largest number of people with full or partial Italian ancestry outside Italy , with São Paulo being the most populous city with Italian ancestry in the world. Nowadays, it is possible to find millions of descendants of Italians, from the southeastern state of Minas Gerais to the southernmost state of Rio Grande do Sul , with

1140-479: The State of São Paulo ). At first, the government was responsible for bringing the immigrants (in most cases, paying for their transportation by ship), but later, the farmers were responsible for making contracts with immigrants or specialized companies in recruiting Italian workers. Many posters were spread in Italy, with pictures of Brazil, selling the idea that everybody could become rich there by working with coffee, which

1216-601: The State of São Paulo . In consequence, São Paulo has more people with Italian ancestry than any region of Italy itself. The rest went mostly to the states of Rio Grande do Sul and Minas Gerais . Internal migration made many second- and third-generation Italians move to other areas. In the early 20th century, many rural Italian workers from Rio Grande do Sul migrated to the west of Santa Catarina and then farther north to Paraná. More recently, third- and fourth-generation Italians have migrated to other areas and so people of Italian descent can be found in Brazilian regions in which

1292-521: The 1940s and 1950s, films produced by the Atlântida Cinematográfica peaked and attracted large audiences by continuing with chanchadas. Among the actors that became strongly associated with Atlântida who had previously worked in Cinédia films are Oscarito , a comedian somewhat reminiscent of a Harpo Marx and commonly cast as lead, and Grande Otelo , who usually had a smaller supporting role and

1368-421: The 1990s and that the number of viewers drawn in from year to year can fluctuate significantly, it is often questioned whether film production has in fact reached a certain amount of stability and whether or not it could in the future succumb to any governmental whims. Incentive laws allow Brazilian films to receive funding from companies that, by acting as sponsors, are allowed tax deductions. A common criticism

1444-512: The 19th century, many Italians fled the political persecutions in Italy led by the Imperial Austrian government after the failure of Italian unification movements in 1848 and 1861. Although very small in numbers, the well-educated and revolutionary group of emigrants left a deep mark where they settled. In Brazil, the most famous Italian was then Líbero Badaró (died 1830). However, the mass Italian immigration tide that would only be second to

1520-557: The 458,281 foreign mothers of 12 or more years who lived in Brazil had 2,852,427 children, of whom 2,657,974 were born alive. Italian women had more children than any other female immigrant community in Brazil: 1,069,862 Brazilians were born to an Italian mother, followed by 524,940 who were born to a Portuguese mother, 436,305 to a Spanish mother and 171,790 to a Japanese mother. The 6,809,772 Brazilian-born mothers of 12 or more years had 38,716,508 children, of whom 35,777,402 were born alive. On

1596-578: The Brazilian Constitution, anyone born in the country is a Brazilian citizen by birthright. In addition, many born in Italy have become naturalized citizens after they settled in Brazil. The Brazilian government used to prohibit multiple citizenship . However, that changed in 1994 by a new constitutional amendment. After the changes, over half a million Italian-Brazilians have requested recognition of their Italian citizenship. According to Italian legislation, an individual with an Italian parent

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1672-566: The Cinema Novo films would achieve. Today, the telenovela , especially the "novela das sete" (a nickname given to soap operas produced by the Rede Globo channel aired around seven p.m. Mondays through Saturdays) is sometimes identified as carrying on the spirit of the chanchada . Many of the films produced by the company have been lost throughout the years due to fire and flooding of its storage facilities. The Companhia Cinematográfica Vera Cruz

1748-666: The Italian immigrants were living in relatively well-developed colonies, but in Southeastern Brazil they were living in semislavery conditions in the coffee plantations . Many rebellions against Brazilian farmers occurred, and public denouncements caused great commotion in Italy, forcing the Italian government to issue the Prinetti Decree, which established barriers to immigration to Brazil . In 1901, 90% of industrial workers and 80% of construction workers in São Paulo were Italians. São Carlos and Ribeirão Preto were two of

1824-520: The Italian immigration to Brazil started to decline. From 1903 to 1920, only 306,652 Italians immigrated to Brazil, compared to 953,453 to Argentina and 3,581,322 to the United States. This was mainly due to the Prinetti Decree in Italy, banning subsidized immigration to Brazil. The Prinetti Decree was issued because of the commotion in the Italian press about the poverty faced by most Italians in Brazil. The end of slavery made most former slaves left

1900-467: The Italian press, which culminated in the Prinetti Decree in 1902. Many immigrants left Brazil after their experience on São Paulo's coffee farms. Between 1882 and 1914, 1.5 million immigrants of different nationalities came to São Paulo, and 695,000 left the state, or 45% of the total. The high numbers of Italians asking the Italian consulate a passage to leave Brazil was so significant that in 1907, most Italian funds for repatriation were used in Brazil. It

1976-463: The North, industrialization was still in its initial stages and illiteracy remained common. Thus, poverty and lack of jobs and income stimulated Northern (and Southern) Italians to emigrate. Most Italian immigrants were very poor rural workers ( Italian : braccianti ). In 1850, under British pressure, Brazil finally passed a law that effectively banned transatlantic slave trade. The increased pressure of

2052-538: The Portuguese and German migrant movements in shaping modern Brazilian culture started only after the 1848-1871 Risorgimento . During the last quarter of the 19th century, the newly united Italy suffered an economic crisis. The more industrial northern half of Italy was plagued with high unemployment caused in part by the introduction of modern agricultural techniques, while southern Italy remained underdeveloped and almost untouched by agrarian modernization programs. Even in

2128-455: The State of São Paulo and the southern states. Italians migrated to Brazil as families . The colono , as a rural immigrant was called, had to sign a contract with the farmer to work in the coffee plantation for a minimum period of time. However, the situation was not easy. Many Brazilian farmers were used to command slaves and treated the immigrants as indentured servants . In Southern Brazil,

2204-524: The abolitionist movement, on the other hand, made it clear that the days of slavery in Brazil were coming to an end. Slave trade was effectively suppressed, but the slave system still endured for almost four decades. Thus, Brazilian landowners claimed that such migrants were or would soon become indispensable for Brazilian agriculture. They would soon win the argument, and mass migration would begin in earnest. An Agriculture Congress in 1878 in Rio de Janeiro discussed

2280-404: The central Italian region of Tuscany . About 30% emigrated from Veneto. On the other hand, in the 20th century, southern Italians predominated in Brazil, coming from the regions of Campania , Abruzzo , Molise , Basilicata and Sicily . In 1924, Umberto, Prince of Piedmont (the future King Umberto II of Italy ) came to Brazil as part of a state visit to various South American countries. That

2356-421: The child of an Italian father, and 1,069,862 said to be the child of an Italian mother. Italians were 285,000 and naturalized Brazilians 40,000. Therefore, Italians and their children were, at most, just over 3.8% of Brazil's population in 1940. The Embassy of Italy in Brazil, in 2013, reported the number of 32 million descendants of Italian immigrants in Brazil (about 15% of the population), half of them in

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2432-406: The colonies of southern Brazil, Italian immigrants at first stuck to themselves, where they could speak their native Italian dialects and keep their culture and traditions. With time, however, they would become thoroughly integrated economically and culturally into the larger society. In any case, Italian immigration to southern Brazil was very important to the economic development and the culture of

2508-419: The country was under military regime, censorship tended to be more political than cultural. That these films thrived could be perceived by many as a cause of embarrassment, yet they managed to draw in enough audiences so as to stay on the market consistently throughout those years. Films in this period benefited from state-run agencies, most notably Embrafilme . Its role was perceived as somewhat ambiguous. It

2584-411: The country: Recife , Campinas , Cataguases , Juiz de Fora and Guaranésia . Also in the early 20th century of Brazilian cinema, there was a major lack of Black presence in films that were being made. Brazilian and American films are common in this aspect, as both countries had endured similar types of European colonization , and how the colored were not given any time or recognition on film. Many of

2660-440: The diversity of Brazil itself. José Lewgoy was commonly cast as a villain while Zézé Macedo often took on the role of the undesired, nagging wife. The films of this period have often been brushed aside as being overly commercial and americanized, though by the seventies a certain amount of revisionism sought to restore its legitimacy. Despite being overlooked by intellectual elites, these films attracted large audiences as none of

2736-484: The early beginning of the 20th century, as early as 1900 to the year of 1912, Brazilian films had made a major impact on the internal market, which saw an annual production of over one-hundred films. In 1908, during a period coined Brazil's "golden age" of Cinema, the country saw its first widely popular film, titled Os Estranguladores, by Antonio Leal. An ad of a May 1987 issue of Gazeta de Petrópolis, as shown in 1995 by Jorge Vittorio Capellaro and Paulo Roberto Ferreira,

2812-522: The early films being produced in Brazil were also made by Italian Brazilians , with respect to the likes of Affonso Segreto . Another way Brazil and America had similar aspects in their films is the idea of "blackface" in America, and the "redface" in Brazil. At the end of World War One, silent Brazilian cinema moved to the growing expansion of women and their social class, mainly the middle, and shows their modernization and diversification. Hollywood influenced

2888-444: The effort of passionate individuals willing to take on the task themselves rather than commercial enterprises. Neither is given much attention by the state, with legislation for the sector being practically non-existent. Film theaters only become larger in number in Rio and São Paulo late in the following decade, as power supply becomes more reliable. Foreign films as well as short films documenting local events were most common. Some of

2964-444: The end of the 19th century, when the 'Great Naturalization' automatically granted citizenship to all the immigrants residing in Brazil prior to 15 November 1889 "unless they declared a desire to keep their original nationality within six months." During the end of the 19th century, denouncement of bad conditions in Brazil increased in the press. Reacting to the public clamor and many proved cases of mistreatment of Italian immigrants ,

3040-544: The films that have come out over the years, often as a co-producer. Globo's presence is seen by some critics as being overly commercial, thus compelling certain filmmakers to work outside its system to create independent work. Documentaries have also had a strong place in Brazilian cinema thanks to the work of renowned directors such as Eduardo Coutinho and João Moreira Salles . In 2007, the film Elite Squad gained headlines due to how quickly leaked DVD copies spread among viewers before its release on theaters, but also due to

3116-444: The first fictional work filmed in the country were the so-called "posed" films, reconstructions of crimes that had recently made the press headlines. The first success of this genre is António Leal and Francisco Marzullo's Os Estranguladores (1908). "Sung" films were also popular. The actors would hide behind the screen and dub themselves singing during projection. During the 1920s film production flourished throughout several regions of

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3192-453: The first three directly elected to such a position): Pascoal Ranieri Mazzilli (Senate president who served as interim president), Itamar Franco (elected vice-president under Fernando Collor, whom he eventually replaced as the latter was impeached), Emílio Garrastazu Médici (third of the series of generals who presided over Brazil during the military regime, also of Basque descent) and Jair Messias Bolsonaro (elected in 2018). According to

3268-406: The government of Italy issued in 1902 the Prinetti Decree forbidding subsidized immigration to Brazil. In consequence, the number of Italian immigrants in Brazil fell drastically in the beginning of the 20th century, but the wave of Italian immigration continued until 1920. Over half of the Italian immigrants came from northern Italian regions of Veneto , Lombardy and Emilia-Romagna , and from

3344-567: The highlands of Rio Grande do Sul ( Serra Gaúcha ). They were Garibaldi and Bento Gonçalves . The immigrants were predominantly from Veneto, in northern Italy. After five years, in 1880, the great numbers of Italian immigrants arriving caused the Brazilian government to create another Italian colony, Caxias do Sul . After initially settling in the government-promoted colonies, many Italian immigrants spread into other areas of Rio Grande do Sul, seeking better opportunities, and created many other Italian colonies on their own, mainly in highlands, because

3420-701: The idea of women becoming more seductive in Brazilian cinema as well with new types of hairstyles, smoking cigarettes, and looking "exotic", in terms of appearance. Hollywood films were also extremely popular during this time, accounting for as much as 85 percent of film material being exhibited on Brazilian screens in 1928. That year, an estimated 16,464,000 linear feet of film was exported to Brazil, making it Hollywood's third largest foreign market. European films, mostly from Germany and France, were also exhibited with relative frequency. Fan magazines like Cinearte and A Scena Muda were published during this time, featuring both domestic and Hollywood films and stars. During

3496-653: The immigrants had never settled, such as in the Cerrado region of Central-West , in the Northeast and in the Amazon rainforest area, in the extreme North of Brazil. The main areas of Italian settlement in Brazil were the Southern and Southeastern Regions, namely the states of São Paulo , Rio Grande do Sul , Santa Catarina , Paraná , Espírito Santo and Minas Gerais . The first colonies to be populated by Italians were created in

3572-489: The introduction of incentive laws under the new FHC government. The comedy Carlota Joaquina - Princess of Brazil came out in 1995 and is held by many as the first film of the retomada , or the return of national film production. Since then there have been films with Academy Award nominations such as O Quatrilho , Four Days in September , Central Station and City of God . The dark urban film The Trespasser

3648-399: The lack of labor and proposed to the government the stimulation of European immigration to Brazil. Immigrants from Italy, Portugal, and Spain were considered the best ones because they were Latin-based and mainly Catholic. In particular, Italian immigrants settled mainly in the São Paulo region, where there were vast coffee plantations. At the end of the 19th century, the Brazilian government

3724-472: The landowner. Moreover, the coffee farms were located in rather isolated regions. If the immigrants became sick, they would take hours to reach the nearest hospital. The structure of labor used on farms included the labor of Italian women and children. Keeping their Italian culture was also made more difficult: the Catholic churches and Italian cultural centers were far from farms. The immigrants who did not accept

3800-496: The large number of audience members who cheered police brutality scenes. Since the 1970s, the quantity of movie theaters has declined heavily. During the 1990s, it became common for small theaters to close while multiplex theaters , which are usually found in shopping centers , gained market share. By December 1999, Cinemark Theatres was the largest theater chain with 180 screens followed by local exhibitor, Grupo Seveirano Ribeiro, with 170 and UCI Cinemas with 80 screens. In

3876-426: The last decades, the accessibility of televisions and computers sold at lower prices combined with success in making telenovelas of high production quality made cinema less attractive to lower income audiences. In addition, ticket prices increased more than tenfold in a span of twenty years. In the early 1990s Brazilian film production suffered as a result of the president Fernando Collor 's laissez-faire policy;

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3952-576: The lowlands were already populated by German immigrants and native gaúchos . Italians established many vineyards in the region. The wine produced in those areas of Italian colonization in southern Brazil is much appreciated within the country, but little is available for export. In 1875, the first Italian colonies were established in Santa Catarina , which lies immediately to the north of Rio Grande do Sul. The colonies gave rise to towns such as Criciúma , and later also spread further north, to Paraná. In

4028-530: The main coffee plantation centers. Both were respectively in the North-Central and Northeastern regions of São Paulo state, a zone known by its hot temperature and a fertile soil in which some of the richest coffee farms were and attracted most immigrants arriving in São Paulo , including Italians, between 1901 and 1940. In the State of Mato Grosso do Sul , Italian descendants are 5% of the population. In 1902,

4104-411: The majority living in São Paulo state . Small southern Brazilian towns, such as Nova Veneza , have as much as 95% of their population of Italian descent. There are no official numbers of how many Brazilians have Italian ancestry, as the national census conducted by IBGE does not ask the ancestry of the Brazilian people. In 1940, the last census to ask ancestry, 1,260,931 Brazilians were said to be

4180-655: The many descendants of Italians who emigrated there from Columbus ' times until 1860, the number of Brazilians with Italian roots should be increased to 35 million. Although they were victims of some prejudice in the first decades and in spite of the persecution during World War II, Brazilians of Italian descent managed to integrate and assimilate seamlessly into the Brazilian society. Many Brazilian politicians, artists, footballers, models, and personalities are or were of Italian descent. Italian-Brazilians have been state governors, representatives, mayors and ambassadors. Four Presidents of Brazil were of Italian descent (but none of

4256-576: The most reliable was done by Giorgio Mortara even though his figures may have underestimated the real size of the Italian population. On the other hand, Angelo Trento believes that the Italian estimates are "certainly exaggerated" and "lacking of any foundation" since they found a figure of 1,837,887 Italians in Brazil for 1927. Another evaluation conducted by Bruno Zuculin found 997,887 Italians in Brazil in 1927. All of those figures include only people born in Italy, not their Brazilian-born descendants. Among all Italians who immigrated to Brazil, 70% went to

4332-503: The most successful films in Brazilian film history is an adaptation of Jorge Amado's Dona Flor and Her Two Husbands (1976) by Bruno Barreto . The early nineties, under the Fernando Collor government, saw a significant decrease in State funding that lead to a practical halt in film production and the closing of Embrafilme in 1989. However, in the mid nineties the country witnessed a new burst in cinematic production, mainly thanks to

4408-474: The movement include Nelson Pereira dos Santos , Ruy Guerra , Leon Hirszman, and Carlos Diegues . Freedom to express political views becomes scarce as the 1964 Brazilian military regime takes place and repression increases over the following years, forcing many of these artists with a marxist or communist bent into exile . In 1985, with the end of the military regime , these artists and singers returned to Brazil. A "marginal cinema" emerges associated with

4484-535: The nineties. Still common in Brazilian cinema is a taste for social and political criticism, a trait that reflects its strong Cinema Novo influences. For the common movie goer, there has been a shift in perception towards Brazilian cinema as becoming more audience friendly. Television shows of the Rede Globo network such as Casseta & Planeta and Os Normais have also received film versions and Globo Filmes, Globo's film production branch, has been behind many of

4560-515: The number of Brazilians with actual links to Italian identity and culture would be around 3.5 to 4.5 million people. Scholar Luigi Favero, in a book on Italian emigration between 1876 and 1976, pinpointed that Italians were present in Brasil since the Renaissance : Genoese sailors and merchants were between the first to settle in colonial Brazil since the first half of the 16th century, and so, because of

4636-690: The other hand, in 1998, the IBGE, within its preparation for the 2000 Census, experimentally introduced a question about "origem" (ancestry) in its "Pesquisa Mensal de Emprego" (Monthly Employment Survey) to test the viability of introducing that variable in the census (the IBGE ended by deciding against the inclusion of questions about it in the Census). The research interviewed about 90,000 people in six metropolitan regions (São Paulo, Rio de Janeiro, Porto Alegre, Belo Horizonte, Salvador, and Recife). .* Commissariato Generale dell'Emigrazione .** Consulates The 1920 census

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4712-490: The plantations and so there was a labour shortage on coffee plantations. Moreover, "natural inequality of human beings", "hierarchy of races", Social Darwinism , Positivism and other theories were used to explain that the European workers were superior to the native workers. In consequence, passages were offered to Europeans (the so-called "subsidized immigration"), mostly to Italians, so that they could come to Brazil and work on

4788-670: The plantations. Those immigrants were employed in enormous latifundia (large-scale farms), formerly employing slaves. In Brazil, there were no labour laws (the first concrete labour laws appeared only in the 1930s, under President Getúlio Vargas ) and so workers had almost no legal protection. Contracts signed by the immigrants could easily be violated by the Brazilian landowners who were accustomed to dealing with African slaves. The remnants of slavery influenced on how Brazilian landowners dealt with Italian workers: immigrants were often monitored, with extensive hours of work. In some cases, they were obliged to buy products that they needed from

4864-597: The region. Imagine you travel eight thousand nautic miles, across the Mediterranean and the Atlantic and suddenly find yourself in Italy. That's São Paulo. It seems paradoxical, but it is a reality, because São Paulo is an Italian city. Pietro Belli, Italian journalist in São Paulo (1925) Some of the immigrants settled in the colonies in Southern Brazil. However, most of them settled in Southeastern Brazil (mainly in

4940-428: The sector had depended on state sponsorship and protection. However, with the retomada Brazilian film regained speed, though not to the same extent it had seen before. A significant increase in audience was recorded, however, from 2000 to 2002, with 7 million viewers, to 2003, when 22 million viewers came to theaters to watch national films . Because these films were made possible thanks to incentive laws introduced in

5016-559: The standards imposed by landowners were replaced by other immigrants. That forced them to accept the impositions of landowners, or they would have to leave their lands. Even though Italians were considered to be "superior" to blacks by Brazilian landowners, the situation faced by Italians in Brazil was so similar to that of the slaves that farmers called them escravos brancos (white slaves in Portuguese ). The destitution faced by Italians and other immigrants in Brazil caused great commotion in

5092-573: The state of São Paulo , while there were around 450,000 Italian citizens in Brazil. Brazilian culture has significant connections to Italian culture in terms of language, customs, and traditions. Brazil is also a strongly Italophilic country as cuisine, fashion and lifestyle has been sharply influenced by Italian immigration . According to the Italian government, there are 31 million Brazilians of Italian descent. All figures relate to Brazilians of any Italian descent, not necessarily linked to Italian culture in any significant way. According to García,

5168-454: The visit's purposes. The Brazilian census of 1940 asked Brazilians where their fathers came from. It revealed that at that time there were 3,275,732 Brazilians who were born to an immigrant father. Of those, 1,260,931 Brazilians were born to an Italian father. Italian was the main reported paternal immigrant origin, followed by Portuguese with 735,929 children, Spanish with 340,479 and German with 159,809 children. The census also revealed that

5244-429: Was a production company founded in the state of São Paulo during the forties and most notable for its output during the following decade. It is in this period that Lima Barreto 's classic O Cangaceiro was produced. The movement was named after the large production studio, inspired by Hollywood scale. However, despite O Cangaceiro , which was clearly inspired by western genre, the essence of these films followed

5320-550: Was called by the Italian immigrants the green gold . Most coffee plantations were in the States of São Paulo and Minas Gerais , and in a smaller proportion also in the States of Espírito Santo and Rio de Janeiro . Rio de Janeiro was declining in the 19th century as a farming producer, and São Paulo had already taken the lead as a coffee producer/exporter in the early 20th century, as well as big producer of sugar and other important crops. Thus, migrants were naturally more attracted to

5396-445: Was chosen as the best film of the period by magazine Revista de Cinema. Some other films that have attracted attention are Carandiru , The Man Who Copied , Madame Satã , Behind the Sun , Olga and Two Sons of Francisco , though perhaps some of these would no longer qualify as films of the retomada , since the term is only adequate to describe the initial boost that occurred in

5472-548: Was criticized for its dubious selection criteria, bureaucracy and favouritism, and was seen as a form of government control over artistic production. On the other hand, much of the work of this period was produced mainly because of its existence. A varied and memorable filmography was produced, including Arnaldo Jabor 's adaptation of Nelson Rodrigues ' All Nudity Shall Be Punished (1973), Carlos Diegues' Bye Bye Brazil (1979), Hector Babenco 's Pixote (1981) and Nelson Pereira do Santos' Memoirs of Prison (1984). One of

5548-569: Was influenced by eugenics theories. The Brazilian government, with or following the Emperor's support, had created the first colonies of immigrants ( colônias de imigrantes ) in the early 19th century. The colonies were established in rural areas of the country, being settled by European families. The first groups of Italians arrived in 1875, but the boom of Italian immigration in Brazil happened between 1880 and 1900, when almost one million Italians arrived. Many Italians were naturalized Brazilian at

5624-414: Was introduced as the new "birth certificate" of Brazilian cinema, as three short films were advertised: Chegada do Trem em Petrópolis , Bailado de Crenças no Colégio de Andarahy and Ponto Terminal da Linha dos Bondes de Botafogo, Vendo-se os Passageiros Subir e Descer . During this belle epoque of Brazilian cinema, when black and white silent films were less costly to produce, most work resulted from

5700-471: Was part of the political plan of the new fascist government to link Italian people living outside of Italy with their mother country and the interests of the regime. The visit was disrupted considerably by the ongoing Tenente revolts , which made it impossible for Umberto to reach Rio de Janeiro and São Paulo . Nevertheless, he was hosted at Bahia , where members of the Italian colony in the city were very happy and proud about his visit, thus achieving some of

5776-463: Was the first one to show a more specific figure about the size of the Italian population in Brazil (558,405). However, since the 20th century, the arrival of new Italian immigrants to Brazil has been in steady decline. The previous censuses of 1890 and 1900 had limited information. In consequence, there are no official figures about the size of the Italian population in Brazil during the mass immigration period (1880–1900). There are estimates available, and

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