In the minds of many, the words Brazil and culture conjure up images of beaches, footballers and dancers in vivid carnival costumes. Filmmaking and cinema, on the other hand, haven’t always figured amongst Brazil’s cultural staples.

Repressed and censored by a military dictatorship throughout much of the 1970s and 1980s, Brazilian filmmakers struggled to make an impact on audiences abroad. Shortly after the country’s return to democracy, the Ministry of Culture was closed and the state-supported film industry crumbled almost overnight. The consequent lack of funding caused Brazilian cinema to reach a low point in the early 1990s. Today, less than two decades after the collapse of the industry, Brazilian cinema is enjoying a renaissance, wowing audiences and critics alike.

So, why all the excitement over Brazilian cinema now? Since the start of 2008 Brazilian films have gone from strength to strength on the festival circuit.

In February 2008, director Jose Padilha’s controversial drama about police violence and corruption, Elite Squad, took Berlin Film Festival’s top award, the Golden Bear.

Another triumph followed at Cannes Film Festival in April. Sandra Corvelloni won the best actress award for her role in Walter Salles’ Linha de Passe. She plays a heavily pregnant, chain-smoking mother of four boys who are all in their own ways attempting to transcend their working-class lives.

Salles’ film was also nominated for the prestigious Palme d’Or, as was Blindness, the latest offering from fellow Brazilian and director of City of God, Fernando Meirelles.

Brazilian films are all about favelas and violence, then? Indeed, one of the most celebrated Brazilian releases of the past years, 2003’s City of God, as well as this year’s Elite Squad, feature ultra-violent narratives set mainly in slums, or favelas, as they are known in Brazil. Both of these films, incidentally, were scripted by screenwriter Braulio Mantovani. Both films were widely acclaimed for their honesty and gripping storytelling, but condemned by certain critics for excessive depictions of violence.

At the time of its release, City of God — which has inspired a whole genre of imitators with its fast-paced editing and bright colors — was accused of glamorizing cruelty.

Similarly, Elite Squad has been said to promote fascism, as it depicts the often-brutal methods employed by Brazil’s special police force in the ongoing battle with drug gangs in the favelas. Variety magazine even dubbed Padilha’s oeuvre “a recruitment film for fascist thugs”, with Rambo style heroes.

But Padilha defends the film’s violent tone, insisting that it was necessary in order to drive home its message. “The bottom line is we are trying to say that the whole violence that goes on in Rio is mainly caused by ourselves and we can possibly undo that”, he told CNN.

Other Brazilian directors are taking a less bloody approach in telling the stories, of the working classes. Lucia Murat’s Mare, Nossa História de Amor, for example, is a musical adaptation of Romeo and Juliet set in one of Rio’s hillside shantytowns — a novelty in Brazilian cinema.

Internet: <www.cnn.com> (adapted).

In the minds of many, the words Brazil and culture conjure up images of beaches, footballers and dancers in vivid carnival costumes. Filmmaking and cinema, on the other hand, haven’t always figured amongst Brazil’s cultural staples.

Repressed and censored by a military dictatorship throughout much of the 1970s and 1980s, Brazilian filmmakers struggled to make an impact on audiences abroad. Shortly after the country’s return to democracy, the Ministry of Culture was closed and the state-supported film industry crumbled almost overnight. The consequent lack of funding caused Brazilian cinema to reach a low point in the early 1990s. Today, less than two decades after the collapse of the industry, Brazilian cinema is enjoying a renaissance, wowing audiences and critics alike.

So, why all the excitement over Brazilian cinema now? Since the start of 2008 Brazilian films have gone from strength to strength on the festival circuit.

In February 2008, director Jose Padilha’s controversial drama about police violence and corruption, Elite Squad, took Berlin Film Festival’s top award, the Golden Bear.

Another triumph followed at Cannes Film Festival in April. Sandra Corvelloni won the best actress award for her role in Walter Salles’ Linha de Passe. She plays a heavily pregnant, chain-smoking mother of four boys who are all in their own ways attempting to transcend their working-class lives.

Salles’ film was also nominated for the prestigious Palme d’Or, as was Blindness, the latest offering from fellow Brazilian and director of City of God, Fernando Meirelles.

Brazilian films are all about favelas and violence, then? Indeed, one of the most celebrated Brazilian releases of the past years, 2003’s City of God, as well as this year’s Elite Squad, feature ultra-violent narratives set mainly in slums, or favelas, as they are known in Brazil. Both of these films, incidentally, were scripted by screenwriter Braulio Mantovani. Both films were widely acclaimed for their honesty and gripping storytelling, but condemned by certain critics for excessive depictions of violence.

At the time of its release, City of God — which has inspired a whole genre of imitators with its fast-paced editing and bright colors — was accused of glamorizing cruelty.

Similarly, Elite Squad has been said to promote fascism, as it depicts the often-brutal methods employed by Brazil’s special police force in the ongoing battle with drug gangs in the favelas. Variety magazine even dubbed Padilha’s oeuvre “a recruitment film for fascist thugs”, with Rambo style heroes.

But Padilha defends the film’s violent tone, insisting that it was necessary in order to drive home its message. “The bottom line is we are trying to say that the whole violence that goes on in Rio is mainly caused by ourselves and we can possibly undo that”, he told CNN.

Other Brazilian directors are taking a less bloody approach in telling the stories, of the working classes. Lucia Murat’s Mare, Nossa História de Amor, for example, is a musical adaptation of Romeo and Juliet set in one of Rio’s hillside shantytowns — a novelty in Brazilian cinema.

Internet: <www.cnn.com> (adapted).

In the minds of many, the words Brazil and culture conjure up images of beaches, footballers and dancers in vivid carnival costumes. Filmmaking and cinema, on the other hand, haven’t always figured amongst Brazil’s cultural staples.

Repressed and censored by a military dictatorship throughout much of the 1970s and 1980s, Brazilian filmmakers struggled to make an impact on audiences abroad. Shortly after the country’s return to democracy, the Ministry of Culture was closed and the state-supported film industry crumbled almost overnight. The consequent lack of funding caused Brazilian cinema to reach a low point in the early 1990s. Today, less than two decades after the collapse of the industry, Brazilian cinema is enjoying a renaissance, wowing audiences and critics alike.

So, why all the excitement over Brazilian cinema now? Since the start of 2008 Brazilian films have gone from strength to strength on the festival circuit.

In February 2008, director Jose Padilha’s controversial drama about police violence and corruption, Elite Squad, took Berlin Film Festival’s top award, the Golden Bear.

Another triumph followed at Cannes Film Festival in April. Sandra Corvelloni won the best actress award for her role in Walter Salles’ Linha de Passe. She plays a heavily pregnant, chain-smoking mother of four boys who are all in their own ways attempting to transcend their working-class lives.

Salles’ film was also nominated for the prestigious Palme d’Or, as was Blindness, the latest offering from fellow Brazilian and director of City of God, Fernando Meirelles.

Brazilian films are all about favelas and violence, then? Indeed, one of the most celebrated Brazilian releases of the past years, 2003’s City of God, as well as this year’s Elite Squad, feature ultra-violent narratives set mainly in slums, or favelas, as they are known in Brazil. Both of these films, incidentally, were scripted by screenwriter Braulio Mantovani. Both films were widely acclaimed for their honesty and gripping storytelling, but condemned by certain critics for excessive depictions of violence.

At the time of its release, City of God — which has inspired a whole genre of imitators with its fast-paced editing and bright colors — was accused of glamorizing cruelty.

Similarly, Elite Squad has been said to promote fascism, as it depicts the often-brutal methods employed by Brazil’s special police force in the ongoing battle with drug gangs in the favelas. Variety magazine even dubbed Padilha’s oeuvre “a recruitment film for fascist thugs”, with Rambo style heroes.

But Padilha defends the film’s violent tone, insisting that it was necessary in order to drive home its message. “The bottom line is we are trying to say that the whole violence that goes on in Rio is mainly caused by ourselves and we can possibly undo that”, he told CNN.

Other Brazilian directors are taking a less bloody approach in telling the stories, of the working classes. Lucia Murat’s Mare, Nossa História de Amor, for example, is a musical adaptation of Romeo and Juliet set in one of Rio’s hillside shantytowns — a novelty in Brazilian cinema.

Internet: <www.cnn.com> (adapted).

In the minds of many, the words Brazil and culture conjure up images of beaches, footballers and dancers in vivid carnival costumes. Filmmaking and cinema, on the other hand, haven’t always figured amongst Brazil’s cultural staples.

Repressed and censored by a military dictatorship throughout much of the 1970s and 1980s, Brazilian filmmakers struggled to make an impact on audiences abroad. Shortly after the country’s return to democracy, the Ministry of Culture was closed and the state-supported film industry crumbled almost overnight. The consequent lack of funding caused Brazilian cinema to reach a low point in the early 1990s. Today, less than two decades after the collapse of the industry, Brazilian cinema is enjoying a renaissance, wowing audiences and critics alike.

So, why all the excitement over Brazilian cinema now? Since the start of 2008 Brazilian films have gone from strength to strength on the festival circuit.

In February 2008, director Jose Padilha’s controversial drama about police violence and corruption, Elite Squad, took Berlin Film Festival’s top award, the Golden Bear.

Another triumph followed at Cannes Film Festival in April. Sandra Corvelloni won the best actress award for her role in Walter Salles’ Linha de Passe. She plays a heavily pregnant, chain-smoking mother of four boys who are all in their own ways attempting to transcend their working-class lives.

Salles’ film was also nominated for the prestigious Palme d’Or, as was Blindness, the latest offering from fellow Brazilian and director of City of God, Fernando Meirelles.

Brazilian films are all about favelas and violence, then? Indeed, one of the most celebrated Brazilian releases of the past years, 2003’s City of God, as well as this year’s Elite Squad, feature ultra-violent narratives set mainly in slums, or favelas, as they are known in Brazil. Both of these films, incidentally, were scripted by screenwriter Braulio Mantovani. Both films were widely acclaimed for their honesty and gripping storytelling, but condemned by certain critics for excessive depictions of violence.

At the time of its release, City of God — which has inspired a whole genre of imitators with its fast-paced editing and bright colors — was accused of glamorizing cruelty.

Similarly, Elite Squad has been said to promote fascism, as it depicts the often-brutal methods employed by Brazil’s special police force in the ongoing battle with drug gangs in the favelas. Variety magazine even dubbed Padilha’s oeuvre “a recruitment film for fascist thugs”, with Rambo style heroes.

But Padilha defends the film’s violent tone, insisting that it was necessary in order to drive home its message. “The bottom line is we are trying to say that the whole violence that goes on in Rio is mainly caused by ourselves and we can possibly undo that”, he told CNN.

Other Brazilian directors are taking a less bloody approach in telling the stories, of the working classes. Lucia Murat’s Mare, Nossa História de Amor, for example, is a musical adaptation of Romeo and Juliet set in one of Rio’s hillside shantytowns — a novelty in Brazilian cinema.

Internet: <www.cnn.com> (adapted).

In the minds of many, the words Brazil and culture conjure up images of beaches, footballers and dancers in vivid carnival costumes. Filmmaking and cinema, on the other hand, haven’t always figured amongst Brazil’s cultural staples.

Repressed and censored by a military dictatorship throughout much of the 1970s and 1980s, Brazilian filmmakers struggled to make an impact on audiences abroad. Shortly after the country’s return to democracy, the Ministry of Culture was closed and the state-supported film industry crumbled almost overnight. The consequent lack of funding caused Brazilian cinema to reach a low point in the early 1990s. Today, less than two decades after the collapse of the industry, Brazilian cinema is enjoying a renaissance, wowing audiences and critics alike.

So, why all the excitement over Brazilian cinema now? Since the start of 2008 Brazilian films have gone from strength to strength on the festival circuit.

In February 2008, director Jose Padilha’s controversial drama about police violence and corruption, Elite Squad, took Berlin Film Festival’s top award, the Golden Bear.

Another triumph followed at Cannes Film Festival in April. Sandra Corvelloni won the best actress award for her role in Walter Salles’ Linha de Passe. She plays a heavily pregnant, chain-smoking mother of four boys who are all in their own ways attempting to transcend their working-class lives.

Salles’ film was also nominated for the prestigious Palme d’Or, as was Blindness, the latest offering from fellow Brazilian and director of City of God, Fernando Meirelles.

Brazilian films are all about favelas and violence, then? Indeed, one of the most celebrated Brazilian releases of the past years, 2003’s City of God, as well as this year’s Elite Squad, feature ultra-violent narratives set mainly in slums, or favelas, as they are known in Brazil. Both of these films, incidentally, were scripted by screenwriter Braulio Mantovani. Both films were widely acclaimed for their honesty and gripping storytelling, but condemned by certain critics for excessive depictions of violence.

At the time of its release, City of God — which has inspired a whole genre of imitators with its fast-paced editing and bright colors — was accused of glamorizing cruelty.

Similarly, Elite Squad has been said to promote fascism, as it depicts the often-brutal methods employed by Brazil’s special police force in the ongoing battle with drug gangs in the favelas. Variety magazine even dubbed Padilha’s oeuvre “a recruitment film for fascist thugs”, with Rambo style heroes.

But Padilha defends the film’s violent tone, insisting that it was necessary in order to drive home its message. “The bottom line is we are trying to say that the whole violence that goes on in Rio is mainly caused by ourselves and we can possibly undo that”, he told CNN.

Other Brazilian directors are taking a less bloody approach in telling the stories, of the working classes. Lucia Murat’s Mare, Nossa História de Amor, for example, is a musical adaptation of Romeo and Juliet set in one of Rio’s hillside shantytowns — a novelty in Brazilian cinema.

Internet: <www.cnn.com> (adapted).

In the minds of many, the words Brazil and culture conjure up images of beaches, footballers and dancers in vivid carnival costumes. Filmmaking and cinema, on the other hand, haven’t always figured amongst Brazil’s cultural staples.

Repressed and censored by a military dictatorship throughout much of the 1970s and 1980s, Brazilian filmmakers struggled to make an impact on audiences abroad. Shortly after the country’s return to democracy, the Ministry of Culture was closed and the state-supported film industry crumbled almost overnight. The consequent lack of funding caused Brazilian cinema to reach a low point in the early 1990s. Today, less than two decades after the collapse of the industry, Brazilian cinema is enjoying a renaissance, wowing audiences and critics alike.

So, why all the excitement over Brazilian cinema now? Since the start of 2008 Brazilian films have gone from strength to strength on the festival circuit.

In February 2008, director Jose Padilha’s controversial drama about police violence and corruption, Elite Squad, took Berlin Film Festival’s top award, the Golden Bear.

Another triumph followed at Cannes Film Festival in April. Sandra Corvelloni won the best actress award for her role in Walter Salles’ Linha de Passe. She plays a heavily pregnant, chain-smoking mother of four boys who are all in their own ways attempting to transcend their working-class lives.

Salles’ film was also nominated for the prestigious Palme d’Or, as was Blindness, the latest offering from fellow Brazilian and director of City of God, Fernando Meirelles.

Brazilian films are all about favelas and violence, then? Indeed, one of the most celebrated Brazilian releases of the past years, 2003’s City of God, as well as this year’s Elite Squad, feature ultra-violent narratives set mainly in slums, or favelas, as they are known in Brazil. Both of these films, incidentally, were scripted by screenwriter Braulio Mantovani. Both films were widely acclaimed for their honesty and gripping storytelling, but condemned by certain critics for excessive depictions of violence.

At the time of its release, City of God — which has inspired a whole genre of imitators with its fast-paced editing and bright colors — was accused of glamorizing cruelty.

Similarly, Elite Squad has been said to promote fascism, as it depicts the often-brutal methods employed by Brazil’s special police force in the ongoing battle with drug gangs in the favelas. Variety magazine even dubbed Padilha’s oeuvre “a recruitment film for fascist thugs”, with Rambo style heroes.

But Padilha defends the film’s violent tone, insisting that it was necessary in order to drive home its message. “The bottom line is we are trying to say that the whole violence that goes on in Rio is mainly caused by ourselves and we can possibly undo that”, he told CNN.

Other Brazilian directors are taking a less bloody approach in telling the stories, of the working classes. Lucia Murat’s Mare, Nossa História de Amor, for example, is a musical adaptation of Romeo and Juliet set in one of Rio’s hillside shantytowns — a novelty in Brazilian cinema.

Internet: <www.cnn.com> (adapted).

Subliminal messages — good versus evil

Superman is one of the good guys, right? Or how about Spiderman? Sure he’s one of the nicest guys you will find fighting crime. If you agree with the above, you have been the victim of subliminal messages.

For years we have been slowly influenced by all manner of messages through a variety of media, and it has often shaped our perception of money, wealth and success. Children have been programmed to believe that it is a sin to have money, rich guys are the evil ones and it is nobler to be poor. I mean, look at the two examples in the first paragraph. Superman, an orphan raised by the hardworking but certainly not wealthy, Kents. His archenemy is Lex Luther of Luther Corp, rich, powerful and totally evil! The same for old Peter Parker (aka Spiderman) raised by an aunt and uncle who can’t even raise the rent money, and he battles it out against rogues like Harry Osborn — again, filthy rich and rotten too!

Many of our so-called superheroes are painted in this way, just look at Batman, Wonderwoman, Harry Potter… all orphans. It’s little wonder then, that as we have watched these characters, even emulated them, the subliminal messages about good versus evil, poverty versus wealth and right over wrong have been firmly embedded in our minds.

Then, of course, we have the flip side — subliminal messages that can be used effectively to plant positive messages directly into our sub-conscious mind. These types of messages work so well because they by-pass our conscious mind, the part that applies rational thinking, judges things, decides if we are going to believe something or not.

Now if a message by-passes this step — it is accepted by the sub-conscious mind ‘as it is’, no bias, no judgment, no second guess — WYSIWYG (what you see, is what you get) to coin a phrase!

Imagine the potential if we could plant the seeds of some very powerful, positive, life changing suggestions directly to our ‘hard drive’ — we would soon start to replace all of those old school negative beliefs with some shiny new systems for success.

From: blog archive, 2007 (adapted).

Subliminal messages — good versus evil

Superman is one of the good guys, right? Or how about Spiderman? Sure he’s one of the nicest guys you will find fighting crime. If you agree with the above, you have been the victim of subliminal messages.

For years we have been slowly influenced by all manner of messages through a variety of media, and it has often shaped our perception of money, wealth and success. Children have been programmed to believe that it is a sin to have money, rich guys are the evil ones and it is nobler to be poor. I mean, look at the two examples in the first paragraph. Superman, an orphan raised by the hardworking but certainly not wealthy, Kents. His archenemy is Lex Luther of Luther Corp, rich, powerful and totally evil! The same for old Peter Parker (aka Spiderman) raised by an aunt and uncle who can’t even raise the rent money, and he battles it out against rogues like Harry Osborn — again, filthy rich and rotten too!

Many of our so-called superheroes are painted in this way, just look at Batman, Wonderwoman, Harry Potter… all orphans. It’s little wonder then, that as we have watched these characters, even emulated them, the subliminal messages about good versus evil, poverty versus wealth and right over wrong have been firmly embedded in our minds.

Then, of course, we have the flip side — subliminal messages that can be used effectively to plant positive messages directly into our sub-conscious mind. These types of messages work so well because they by-pass our conscious mind, the part that applies rational thinking, judges things, decides if we are going to believe something or not.

Now if a message by-passes this step — it is accepted by the sub-conscious mind ‘as it is’, no bias, no judgment, no second guess — WYSIWYG (what you see, is what you get) to coin a phrase!

Imagine the potential if we could plant the seeds of some very powerful, positive, life changing suggestions directly to our ‘hard drive’ — we would soon start to replace all of those old school negative beliefs with some shiny new systems for success.

From: blog archive, 2007 (adapted).

Subliminal messages — good versus evil

Superman is one of the good guys, right? Or how about Spiderman? Sure he’s one of the nicest guys you will find fighting crime. If you agree with the above, you have been the victim of subliminal messages.

For years we have been slowly influenced by all manner of messages through a variety of media, and it has often shaped our perception of money, wealth and success. Children have been programmed to believe that it is a sin to have money, rich guys are the evil ones and it is nobler to be poor. I mean, look at the two examples in the first paragraph. Superman, an orphan raised by the hardworking but certainly not wealthy, Kents. His archenemy is Lex Luther of Luther Corp, rich, powerful and totally evil! The same for old Peter Parker (aka Spiderman) raised by an aunt and uncle who can’t even raise the rent money, and he battles it out against rogues like Harry Osborn — again, filthy rich and rotten too!

Many of our so-called superheroes are painted in this way, just look at Batman, Wonderwoman, Harry Potter… all orphans. It’s little wonder then, that as we have watched these characters, even emulated them, the subliminal messages about good versus evil, poverty versus wealth and right over wrong have been firmly embedded in our minds.

Then, of course, we have the flip side — subliminal messages that can be used effectively to plant positive messages directly into our sub-conscious mind. These types of messages work so well because they by-pass our conscious mind, the part that applies rational thinking, judges things, decides if we are going to believe something or not.

Now if a message by-passes this step — it is accepted by the sub-conscious mind ‘as it is’, no bias, no judgment, no second guess — WYSIWYG (what you see, is what you get) to coin a phrase!

Imagine the potential if we could plant the seeds of some very powerful, positive, life changing suggestions directly to our ‘hard drive’ — we would soon start to replace all of those old school negative beliefs with some shiny new systems for success.

From: blog archive, 2007 (adapted).

Subliminal messages — good versus evil

Superman is one of the good guys, right? Or how about Spiderman? Sure he’s one of the nicest guys you will find fighting crime. If you agree with the above, you have been the victim of subliminal messages.

For years we have been slowly influenced by all manner of messages through a variety of media, and it has often shaped our perception of money, wealth and success. Children have been programmed to believe that it is a sin to have money, rich guys are the evil ones and it is nobler to be poor. I mean, look at the two examples in the first paragraph. Superman, an orphan raised by the hardworking but certainly not wealthy, Kents. His archenemy is Lex Luther of Luther Corp, rich, powerful and totally evil! The same for old Peter Parker (aka Spiderman) raised by an aunt and uncle who can’t even raise the rent money, and he battles it out against rogues like Harry Osborn — again, filthy rich and rotten too!

Many of our so-called superheroes are painted in this way, just look at Batman, Wonderwoman, Harry Potter… all orphans. It’s little wonder then, that as we have watched these characters, even emulated them, the subliminal messages about good versus evil, poverty versus wealth and right over wrong have been firmly embedded in our minds.

Then, of course, we have the flip side — subliminal messages that can be used effectively to plant positive messages directly into our sub-conscious mind. These types of messages work so well because they by-pass our conscious mind, the part that applies rational thinking, judges things, decides if we are going to believe something or not.

Now if a message by-passes this step — it is accepted by the sub-conscious mind ‘as it is’, no bias, no judgment, no second guess — WYSIWYG (what you see, is what you get) to coin a phrase!

Imagine the potential if we could plant the seeds of some very powerful, positive, life changing suggestions directly to our ‘hard drive’ — we would soon start to replace all of those old school negative beliefs with some shiny new systems for success.

From: blog archive, 2007 (adapted).