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Paula Halperin

SUNY: Purchase College, History/Cinema Studies, Faculty Member

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Paula Halperin is Associate Professor of Cinema Studies and History and currently the Director of the School of Film and Media Studies at Purchase College, SUNY. Her research interests are media and the public sphere in Brazil and Argentina during the second half of the twentieth century, the relationship between film, television, history, and politics in Latin America, and intellectuals’ and artists’ political interventions in Brazil and Argentina during the twentieth century.

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Articles by Paula Halperin

Tribute to Fernando Pino Solanas, The Paper,

The Paper , 2020

Então ela é escrava? Escrava Isaura, história e identidade nacional

Significação: Revista De Cultura Audiovisual, 2020

Este artigo analisa a novela Escrava Isaura, transmitida pela Rede Globo entre 11 de outubro de 1... more Este artigo analisa a novela Escrava Isaura, transmitida pela Rede Globo entre 11 de outubro de 1976 e 5 de fevereiro de 1977. Adaptação do romance de Bernardo Guimarães (1875), a novela teve grande repercussão na mídia e um alto índice de audiência, durante um período de profunda transformação da televisão no Brasil. A narrativa e a estética presentes em Escrava Isaura configuraram um discurso histórico intricado, estabelecendo uma leitura peculiar do passado e das relações raciais contemporâneas à novela. Escrava Isaura gerou debates acirrados na imprensa da época em torno da escravidão, patriarcado e identidade nacional, em tempos de ditadura militar no Brasil.

Between Politics and Desire: Fresa y Chocolate, Homosexuality, and Democratization in 1990s Brazil

Radical History Review, 2020

In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Fil... more In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Film Festival. Founded in 1973, the festival was not only a platform for art-house films; Gramado had functioned as a space of creative freedom and resistance to censorship during the worst years of Brazil’s military regime (1964–85). Fresa y Chocolate was highly anticipated; it foregrounded a cluster of sensitive issues such as homosexuality, freedom of speech, and censorship, in a Cuba immersed in the so-called Special Period. This article examines the debates provoked by Fresa in Brazil, which had recently emerged from a long authoritarian regime and was confronting the implementation of neoliberal policies. Through Alea’s film, Brazilian critics and journalists discussed the themes advanced by “the Cuban case,” which struck a chord and ignited debate with the local public.

We Will All Be Judged By History: Political Upheaval in Brazil

NACLA, 2019

Liberdade de expressão, a Rede Globo, e a Escrava Isaura, por Paula Halperin com apresentação de Keila Grinberg

by Paula Halperin and Keila Grinberg

Papo Coletivo. Conversa de Historiadoras, 2019

Entre a invasão dos capitais alienígenas e a consolidação da televisão.

Antíteses, 2019

This article analyzes the debate in the Brazilian mainstream press about the agreement signed bet... more This article analyzes the debate in the Brazilian mainstream press about the agreement signed between Rede Globo and midia conglomerate Time-Life in 1962. It seeks to illuminate the position of the main newspapers within the complex political configuration created by the military coup in 1964. The debate originated in the Rio de Janeiro that year revolved around the unconstitutionality of foreign investments in national media companies. Carlos Lacerda, then governor of Guanabara, carried out a real public campaign of denunciation considering the agreement antinational and in violation of the Constitution (which prohibited foreign groups from owning or investing in media companies). In 1966, the public discussion had expanded to São Paulo, and the pressure exerted by the press had the Parliament forced to formally investigate the agreement. In March 1967, the federal government declared the allegations unfounded, closing the inquiry. The article contributes to the debate about the historicization of the political process developed in those first three years of government and the complex place the press had in it.
Keywords: History of the press; Brazilian military dictatorship; Rede Globo/Time-Life agreement; History of Rede Globo.

"Ele te chamou pra roubar? E tu foi. Tá gostando agora?" Justiça e alteridade em três documentários de Maria Augusta Ramos

Latin American Research Review, 2018

Historia en celuloide: cine militante en los '70 en la Argentina

Estudios críticos sobre Historia Reciente Los ‘60 y ‘70 en Argentina Parte II Cuaderno de Tr... more

Retorno a la democracia liberal y legitimación del saber: El imaginario dominante de la historiografía argentina (1983-1999)

Prohistoria, 1999

Book Chapters by Paula Halperin

Rainha no cinema, empregada na TV. Mito e trajetória artística de Zezé Motta, 1976 - 1984

O cinema negro Brasileiro, 2022

The Many Mirrors of Maria Augusta Ramos: Landscape, Institutions, and Everyday Lives in Contemporary Brazil

Woman-Centered Brazilian Cinema, 2022

Industria cultural e identidad nacional. Dos films emblemáticos.

Mariano Mestman (ed.), Las rupturas del 68 en el cine de América Latina (Buenos Aires: Akal, 2016) , 2016

“With an Incredible Realism that Beats the Best of the European Cinemas:’ The Making of Barrio Gris and the Reception of Italian Neorealism in Argentina, 1947-1955”

Saverio Giovacchini and Robert Sklar (eds). Global Neorealism: The Transnational History of a Film Style (Mississipi: University of Mississippi, 2013), 2013

Mi mamá me mima. Mujeres, médicas y socialistas en Unión y Labor.

In Paula Halperin, Omar Acha. Cuerpos, Géneros e identidades: estudios de historia de género en Argentina. Buenos Aires: Ediciones del Signo, 2000, 2000

Books by Paula Halperin

Cuerpos, géneros e identidades: estudios de historia de género en Argentina. Buenos Aires: Ediciones del Signo, 2000

Conference Presentations by Paula Halperin

Domestic Space, Intimacy, and Historical Imagination in the Brazilian Soap Opera Escrava Isaura (1976)

Presented at the symposium Slave Pasts in the Present: Narrating Slavery through the Arts, Techno... more

Entre o nacionalismo conservador e a revolução: cinema e imaginação histórica em Independência ou morte e Os inconfidentes,1972. In II Coloquio Internacional de Cinema e História, Universidade de São Paulo (USP), December 5 - 8, 2018

Entre o nacionalismo conservador e a revolução: cinema e imaginação histórica em Independência ou... more

O fio da mémoria (1991): Eduardo Coutinho, los mitos nacionales y las políticas de la historia en Brasil

“O fio da mémoria (1991): Eduardo Coutinho, los mitos nacionales y las políticas de la historia e... more

Film Essays by Paula Halperin

Kleber Mendonça Filho's Aquarius and the Vicissitudes of the Brazilian Middle Class Filmatique

The Political Films of Theodore Collatos Filmatique

Tribute to Fernando Pino Solanas, The Paper,

The Paper , 2020

Então ela é escrava? Escrava Isaura, história e identidade nacional

Significação: Revista De Cultura Audiovisual, 2020

Este artigo analisa a novela Escrava Isaura, transmitida pela Rede Globo entre 11 de outubro de 1... more Este artigo analisa a novela Escrava Isaura, transmitida pela Rede Globo entre 11 de outubro de 1976 e 5 de fevereiro de 1977. Adaptação do romance de Bernardo Guimarães (1875), a novela teve grande repercussão na mídia e um alto índice de audiência, durante um período de profunda transformação da televisão no Brasil. A narrativa e a estética presentes em Escrava Isaura configuraram um discurso histórico intricado, estabelecendo uma leitura peculiar do passado e das relações raciais contemporâneas à novela. Escrava Isaura gerou debates acirrados na imprensa da época em torno da escravidão, patriarcado e identidade nacional, em tempos de ditadura militar no Brasil.

Between Politics and Desire: Fresa y Chocolate, Homosexuality, and Democratization in 1990s Brazil

Radical History Review, 2020

In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Fil... more In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Film Festival. Founded in 1973, the festival was not only a platform for art-house films; Gramado had functioned as a space of creative freedom and resistance to censorship during the worst years of Brazil’s military regime (1964–85). Fresa y Chocolate was highly anticipated; it foregrounded a cluster of sensitive issues such as homosexuality, freedom of speech, and censorship, in a Cuba immersed in the so-called Special Period. This article examines the debates provoked by Fresa in Brazil, which had recently emerged from a long authoritarian regime and was confronting the implementation of neoliberal policies. Through Alea’s film, Brazilian critics and journalists discussed the themes advanced by “the Cuban case,” which struck a chord and ignited debate with the local public.

We Will All Be Judged By History: Political Upheaval in Brazil

NACLA, 2019

Liberdade de expressão, a Rede Globo, e a Escrava Isaura, por Paula Halperin com apresentação de Keila Grinberg

by Paula Halperin and Keila Grinberg

Papo Coletivo. Conversa de Historiadoras, 2019

Entre a invasão dos capitais alienígenas e a consolidação da televisão.

Antíteses, 2019

This article analyzes the debate in the Brazilian mainstream press about the agreement signed bet... more This article analyzes the debate in the Brazilian mainstream press about the agreement signed between Rede Globo and midia conglomerate Time-Life in 1962. It seeks to illuminate the position of the main newspapers within the complex political configuration created by the military coup in 1964. The debate originated in the Rio de Janeiro that year revolved around the unconstitutionality of foreign investments in national media companies. Carlos Lacerda, then governor of Guanabara, carried out a real public campaign of denunciation considering the agreement antinational and in violation of the Constitution (which prohibited foreign groups from owning or investing in media companies). In 1966, the public discussion had expanded to São Paulo, and the pressure exerted by the press had the Parliament forced to formally investigate the agreement. In March 1967, the federal government declared the allegations unfounded, closing the inquiry. The article contributes to the debate about the historicization of the political process developed in those first three years of government and the complex place the press had in it.
Keywords: History of the press; Brazilian military dictatorship; Rede Globo/Time-Life agreement; History of Rede Globo.

"Ele te chamou pra roubar? E tu foi. Tá gostando agora?" Justiça e alteridade em três documentários de Maria Augusta Ramos

Latin American Research Review, 2018

Historia en celuloide: cine militante en los '70 en la Argentina

Estudios críticos sobre Historia Reciente Los ‘60 y ‘70 en Argentina Parte II Cuaderno de Tr... more

Retorno a la democracia liberal y legitimación del saber: El imaginario dominante de la historiografía argentina (1983-1999)

Prohistoria, 1999

Rainha no cinema, empregada na TV. Mito e trajetória artística de Zezé Motta, 1976 - 1984

O cinema negro Brasileiro, 2022

The Many Mirrors of Maria Augusta Ramos: Landscape, Institutions, and Everyday Lives in Contemporary Brazil

Woman-Centered Brazilian Cinema, 2022

Industria cultural e identidad nacional. Dos films emblemáticos.

Mariano Mestman (ed.), Las rupturas del 68 en el cine de América Latina (Buenos Aires: Akal, 2016) , 2016

“With an Incredible Realism that Beats the Best of the European Cinemas:’ The Making of Barrio Gris and the Reception of Italian Neorealism in Argentina, 1947-1955”

Saverio Giovacchini and Robert Sklar (eds). Global Neorealism: The Transnational History of a Film Style (Mississipi: University of Mississippi, 2013), 2013

Mi mamá me mima. Mujeres, médicas y socialistas en Unión y Labor.

In Paula Halperin, Omar Acha. Cuerpos, Géneros e identidades: estudios de historia de género en Argentina. Buenos Aires: Ediciones del Signo, 2000, 2000

Cuerpos, géneros e identidades: estudios de historia de género en Argentina. Buenos Aires: Ediciones del Signo, 2000

Domestic Space, Intimacy, and Historical Imagination in the Brazilian Soap Opera Escrava Isaura (1976)

Presented at the symposium Slave Pasts in the Present: Narrating Slavery through the Arts, Techno... more

Entre o nacionalismo conservador e a revolução: cinema e imaginação histórica em Independência ou morte e Os inconfidentes,1972. In II Coloquio Internacional de Cinema e História, Universidade de São Paulo (USP), December 5 - 8, 2018

Entre o nacionalismo conservador e a revolução: cinema e imaginação histórica em Independência ou... more

O fio da mémoria (1991): Eduardo Coutinho, los mitos nacionales y las políticas de la historia en Brasil

“O fio da mémoria (1991): Eduardo Coutinho, los mitos nacionales y las políticas de la historia e... more

Kleber Mendonça Filho's Aquarius and the Vicissitudes of the Brazilian Middle Class Filmatique

The Political Films of Theodore Collatos Filmatique

History, Trauma, and Modernization in the Films of Pablo Larraín Filmatique

Filmatique

The Newer Brazilian Cinema Subjectivity and Social Change Filmatique

Filmatique, 2020

Horror, Motherhood, and Brazilian Manners in As boas maneiras

Theatre, Creation, and Female Friendship in Vermelho Russo (Russian Red)

Minotauro. Dreams Hopes and Everyday Life in the Films of Nicolas Pereda 20190731 68478 1pu7sgo

Ghosts and the Living. Jorge Thielen Armand's La Soledad

Traces of the Black Diaspora in Viramundo

The Fire is About to Start: History and Memory in Independência

http://www.filmatique.com/essays-1/2018/independencia

Spotlight on Brazil: Four Films Looking for a Country

Filmatique, 2017

http://www.filmatique.com/essays-1/2017/8/2/evocative-beauty-and-the-puzzle-of-identity-opera-pri... more

'Zama': The World that Colonialism Created

The Mantle, 2017

Film essay on Lucrecia Martel's Zama. http://www.mantlethought.org/arts-and-culture/zama-world-... more

Evocative Beauty and the Puzzle of Identity in Opera Prima Italiana

Filmatique, 2017

http://www.filmatique.com/essays-1/2017/8/2/evocative-beauty-and-the-puzzle-of-identity-opera-pri... more

Dream and Loss in Two Gates of Sleep

Penélope: Artisanal Argentine Cinema

Girimunho: Life Imagined in the Backlands of Minas Gerais — FILMATIQUE

Filmatique, 2018

http://www.filmatique.com/essays-1/2018/girimunho

Interview with Theodore Collatos Filmatique

Nicolás Pereda.pdf

Helvécio Marins Jr. & Clarissa Campolina

Alistair Banks Griffin

Interview with director Lamberto Sanfelice

Filmatique, 2017

Lamberto Sanfelice is an Italian screenwriter and film director. His short film Il Fischietto te... more Lamberto Sanfelice is an Italian screenwriter and film director. His short film Il Fischietto tells the story of Giulia, a ten-year-old girl coping with the loss of her parents, while his feature film debut Cloro, widely celebrated on the festival circuit after premieres at both Sundance and Berlin, also tackles the topics of hardship and female adolescence.

In an exclusive interview with Filmatique, Lamberto Sanfelice discusses the importance of atmosphere over dialogue, shooting in the snow, the state of Italian cinema and his next project.

http://www.filmatique.com/interviews-1/2017/7/14/lamberto-sanfelice

Interview with director Mohcine Besri

Filmatique, 2018

Mohcine Besri is a Moroccan screenwriter, film director and producer. His debut feature film The... more Mohcine Besri is a Moroccan screenwriter, film director and producer. His debut feature film The Miscreants premiered at Karlovy Vary, Abu Dhabi, Göteborg, São Paulo and Cairo, where it won Best Arab Film.

In an exclusive interview with Filmatique, Mohcine Besri discusses Nietzsche, the plague of certainty, extremism, and the importance of education.

http://www.filmatique.com/interviews-1/2018/mohcine-besri

Interview with director Eskil Vogt

Filmatique, 2017

Eskil Vogt is a Norwegian screenwriter, producer and film director. Vogt has collaborated on the... more Eskil Vogt is a Norwegian screenwriter, producer and film director. Vogt has collaborated on the scripts of fellow Norwegian film director Joachim Trier's films Procter, Reprise, Oslo, August 31st, Louder Than Bombs and the upcoming Thelma, having won the Best Screenplay Amanda Award, Norway's Oscar equivalent, for both Reprise and Louder Than Bombs. His feature film debut Blind premiered at CPH:PIX, Berlin; Sundance, where it won Best Screenplay; and Istanbul, where it won Best Film.

In an exclusive interview with Filmatique, Eskil Vogt discusses arrogance, our inner lives, the tragedies in Oslo and Utøya and his next project.

http://www.filmatique.com/interviews-1/2017/9/12/eskil-vogt

Latin American Women Filmmakers. Social and Cultural Perspectives By Traci Roberts-Camps.

The Americas, 2019

Creando queers political representation through new forms of sociality and space. The one outlier... more Creando queers political representation through new forms of sociality and space. The one outlier chapter is on new-age tourism in the Peruvian Andes, entered via a commodified Andean shamanism. Though the body is a key site for the author's "decolonial queer femme" encounters with the extractive zone, the chapter on tourism pushes it further as an instrument of ethnography, a zone shaped by shaman-laborers who try to both meet consumer demand and work on their bodies, attuning them to ways of seeing the world differently. Tourism is highly extractive, as the text suggests, though how it relates to other zones/chapters is harder to track.

Review: "Securing Sex: Morality and Repression in the Making of Cold War Brazil. By Benjamin A. Cowan. Chapel Hill: University of North Carolina, 2016. Pp. 324

The Americas, forthcoming, April 2018

Review: Matthew Karush "Culture of Class: Radio and Cinema in the Making of a Divided Argentina" and Jessica Stites Mor "Transition Cinema"

American Historical Review, 2014

Review: Omar Acha "La trama profunda: Vida y obra en José Luis Romero"

Hispanic American Historical Review, 2006

Histórias & Cinemas

The Many Mirrors of Maria Augusta Ramos

SUNY Press eBooks, Oct 1, 2022

Alton's Paradox: Foreign Film Workers and the Emergence of Industrial Cinema in Latin America

Hahr-hispanic American Historical Review, Jul 5, 2023

Entre a invasão dos “capitais alienígenas” e a consolidação da televisão: Imprensa e debates públicos em torno ao acordo Rede Globo/Time-Life, 1964-1967

Antíteses, 2019

O presente artigo analisa o debate ocorrido na grande imprensa sobre o acordo assinado entre a Re... more O presente artigo analisa o debate ocorrido na grande imprensa sobre o acordo assinado entre a Rede Globo e o conglomerado norte-americano Time-Life em 1962, iluminando o posicionamento dos jornais dentro da nova e complexa configuração política suscitada pelo golpe militar. O debate originado nos jornais cariocas em 1964 girou em torno à inconstitucionalidade dos investimentos estrangeiros nas empresas jornalísticas nacionais. Carlos Lacerda, então governador da Guanabara, levou adiante uma verdadeira campanha pública de denúncia sobre o assunto, por considerar o acordo antinacional e em violação da Constituição (que proibia grupos estrangeiros de intervir em empresas de comunicação). Em 1966, a discussão pública sobre o assunto tinha se expandido a São Paulo, tendo a pressão exercida pela imprensa alcançado um efeito tal que a Câmara dos Deputados se viu forçada a instalar uma CPI para investigar o dito acordo. Em março de 1967, o governo Castelo Branco declarou infundadas as acus...

Então Ela é Escrava? Escrava Isaura, Popular History and National Identity

Significação: Revista de Cultura Audiovisual, 2020

This paper analyzes the soap opera Escrava Isaura, aired in Brazil by the network Rede Globo from... more This paper analyzes the soap opera Escrava Isaura, aired in Brazil by the network Rede Globo from October 11, 1976 until February 5, 1977. Based on Bernardo Guimarães’ novel written in 1875, Escrava Isaura enjoyed attention from both the media and a vast national audience at a time when television had become a significant and influential medium. The narrative and aesthetics displayed showed a complex relationship between History and fiction, establishing a peculiar view of the past and slavery. Escrava Isaura launched a lively discussion in the press around slavery, patriarchy, and national identity at a time of military rule in Brazil.

No Brasil, o maior enemigo do negro é o mulato: Racial Representations, Film, Television, and Politics in Brazil during Authoritarian Times, 1968-85

“With an Incredible Realism that Beats the Best of the European Cinemas”

Global Neorealism, 2011

La trama profunda: Historia y vida en José Luis Romero

Hispanic American Historical Review, 2006

José Luis Romero (1909-77) was central in the establishment of the Argentine historical professio... more José Luis Romero (1909-77) was central in the establishment of the Argentine historical profession in the second half of the twentieth century. His vast and seminal work in Latin American and medieval European history conceives of history as a process and affirms the historian's role as spiritual guide and public intellectual. Omar Acha examines the complexity of Romero's trajectory within the context of Argentina's intellectual and political life in the postwar period. Implicitly, this study also touches upon the most important issues on Argentina's historiographic agenda today. Acha begins with the paradigmatic life, as a historian and as an intellectual, of one of the most important personalities in a crucial period of Argentine history, including the failure of the oligarchic/conservative political project in the 1930s, the rise and fall of Peronism, and its continued influence on Argentina's society, politics, and especially culture after 1955. Romero's work and political involvement was shaped through constant dialogue with his intellectual predecessors, whose work greatly contributed to the configuration of a national narrative. Romero was also influenced by his preoccupation with the popular classes and the unsuccessful bourgeois project of the early twentieth century. His remarkable intellectual profile developed through a number of important experiences, including his contributions to the well-known periodical Imago Mundi (1953-56), his central role in the transformation of the University of Buenos Aires, his involvement in the Centro de Historia Social created in 1958, and his militancy in the Socialist Party. Key to his political vision was a critique of bourgeois culture and ideas about the relationship between revolutionary change and new ethical principles in the twentieth century, which Karl Marx had not developed. According to Romero, the historian should play a guiding role in this revolution. The emergence of Peronism and the erratic behavior of the masses strengthened Romero's convictions and led him to join the Socialist Party. Clearly, Acha notes the profound significance of Peronism, both culturally and politically, and how Romero's work should be examined in this context. Acha also examines the profound meaning of the vida histórica-the "historical life"-a central concept through which Romero articulated the relationship among his philosophical, epistemological, and political ideas. In Romero's view, the articulation of the past, the present, and the future can be seen in the transformations of sociohistorical configurations. This concept of the historical life led Romero to analyze several aspects of those transformations through his work on the crisis of bourgeois society in Europe, the interaction of space, politics, and society in Latin America, and especially the configuration of the political ideas in Argentina-a trajectory that eventually led him to express his optimistic belief in Argentina's future. It is worth noting that the concept of the historical life works as a methodological guide to Acha. Instead of merely writing a biography or a work of intellectual history, Acha tries to construct a complex narrative that places Romero's multifaceted life and historical production within the sociohistorical crisis that history as a discipline could Book Reviews / National Period

Cuerpos, géneros e identidades: Estudios de Historia de género en Argentina

Mafalda: a social and political history of Latin America’s global comic

Journal of Gender Studies

Retorno a la democracia liberal y legitimación del saber: el imaginario dominante de la historiografía argentina (1983-1999)

espanolAnalisis de las caracteristicas de la consolidacion de la histonografia argentina luego de... more espanolAnalisis de las caracteristicas de la consolidacion de la histonografia argentina luego de 1983. Mas que la descripcion de la produccion se intenta desglosar los valores paradigmaticos mas arraigados y por eso decisivos de la comprension dominante de la practica historiadora. Se identifica como un nucleo central la relacion entre el saber y la intervencion politica, dado que ese era un tema fundante de las concepciones historiograficas previas, de las cuales la historia actual en su mayor parte desea desprenderse. EnglishAnalysis of the Argentine historiography characteristics in the period after 1983. Thc comprehension of the dominant practice is centcred in the study of paradigmantic values more than the works produced. The nucleus is identified as the knowledge-politics relation, assuming that this was a foundational theme of earlier historiographical conceptions, of which the most of contemporary History desires to disjoin.

“Ele te chamou pra roubar? E tu foi. Tá gostando agora?” Justiça e alteridade em três documentários de Maria Augusta Ramos

Latin American Research Review, 2018

Vinte minutos antes do final do documentário da brasiliense Maria Augusta Ramos Justiça (2004) a ... more Vinte minutos antes do final do documentário da brasiliense Maria Augusta Ramos Justiça (2004) a doutora Fátima Maria Clemente, juíza e figura central do filme, é empossada para o cargo de desembargadora da 4ª Câmara Criminal do Tribunal de Justiça do Estado do Rio de Janeiro. Logo após as solenidades da cerimônia da posse, um colega profere um discurso que visa a não apenas comemorar a ocasião, mas também frisar o problema de uma criminalidade crescente incrementada por uma legislação obsoleta: "Basta de covardia e submissão ao poder dos criminosos. Basta de chorar os nossos mortos, feridos e humilhados na sua dignidade, para continuar depois quase insensíveis, acomodados, aplicando leis que não guardam mais a menor intimidade com a realidade que vivemos. Basta senhor presidente. Basta!" (Figura 1). Na cena seguinte, Suzana, a jovem esposa grávida de Carlos Eduardo (réu sendo julgado pela juíza Clemente por furto de carro), está no hospital aguardando o iminente nascimento de sua filha. Logo depois, Elma, a mãe de Carlos Eduardo, embala a criança e comenta a semelhança com o pai. Sogra e nora discorrem sobre o processo de registro da menina. Suzana não pode registrá-la como filha de Carlos Eduardo, já que ele está na prisão esperando sentença. "Se fosse o contrário," diz Suzana, "ele poderia registrá-la no meu nome." Na seguinte cena, vemos finalmente, Carlos Eduardo sendo condenado; Elma chora sem consolo. A câmera, fixa no final do corredor do edifício, a observa enquanto ela, consternada, abandona o tribunal. Esse é o final de Justiça (Figura 2). Estas cenas tão significativas expressam a proposta presente tanto em Justiça como em Juízo (2007) e Morro dos Prazeres (2013), os dois documentários seguintes da diretora. Através de profunda observação das instituições estatais no Rio de Janeiro (tribunais, força policial, instituto de menores), Ramos examina os mecanismos e dispositivos do dia-a-dia. Os filmes descobrem uma verdadeira mise-en-scène da justiça em seus vínculos complexos com as populações das favelas e as periferias do Rio de Janeiro. Os três filmes interrogam o funcionamento dessas instituições nas suas práticas cotidianas e sua participação, através de pequenos e grandes procedimentos, na construção de uma outriedade irredutível. O Halperin, Paula. 2018. "Ele te chamou pra roubar? E tu foi. Tá gostando agora?" Justiça e alteridade em três documentários de Maria Augusta Ramos. Latin American Research Review 53(4), pp. 831-838.

Between Politics and Desire

Radical History Review

In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Fil... more In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Film Festival. Founded in 1973, the festival was not only a platform for art-house films; Gramado had functioned as a space of creative freedom and resistance to censorship during the worst years of Brazil’s military regime (1964–85). Fresa y Chocolate was highly anticipated; it foregrounded a cluster of sensitive issues such as homosexuality, freedom of speech, and censorship, in a Cuba immersed in the so-called Special Period. This article examines the debates provoked by Fresa in Brazil, which had recently emerged from a long authoritarian regime and was confronting the implementation of neoliberal policies. Through Alea’s film, Brazilian critics and journalists discussed the themes advanced by “the Cuban case,” which struck a chord and ignited debate with the local public.

Filmmakers, Cinema, and Journalism - Latin American Women Filmmakers. Social and Cultural Perspectives. By Traci Roberts-Camps. Albuquerque: University of New Mexico Press, 2017. Pp. 180. $75.00 cloth

The Americas

Mas Então Ela é Escrava? Projections of Brazilian History and Fiction in the Soap Opera Escrava Isaura, 1976

Benjamin Cowan, Securing Sex: Morality and Repression in the Making of Cold War Brazil. Chapel Hill: University of North Carolina, 2016. Pp. 324. $85.00 cloth; $32.95 paper

The Americas

Debating Xica: The Role of the Mass Media in the Definition of Racial Relations in Brazil in the 1970s

MATTHEW B. KARUSH. Culture of Class: Radio and Cinema in the Making of a Divided Argentina, 1920-1946. JESSICA STITES MOR. Transition Cinema: Political Film Making and the Argentine Left since 1968

The American Historical Review, 2014