Cover

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Title Page, Copyright, Dedication

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Contents

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Acknowledgments

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pp. ix-xiv

I have been able to complete this book largely because of collaboration. The first seeds for this project—articles that would grow into chapters—were developed in the context of weeklong collaborative writing sessions, beginning in 2003. Several...

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Introduction

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pp. 1-11

This book grew out of a fascination with how cinema represents national communities and the impact of those depictions on audiences.¹ I use the context of Brazilian films about slavery to investigate some of the ways in which films invite viewers to...

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1. Influencing Understandings of Brazilianness in O Aleijadinho: Paixão, glória e suplício (2000)

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pp. 12-64

Aleijadinho: Paixão, glória e suplício, directed by Geraldo Santos Pereira, takes place in eighteenth- century Minas Gerais.¹ The film, initially conceived in the 1950s,² crafts a version of the life of Antônio Francisco Lisboa, known...

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2. Modeling National Identity on Religious Identity in Cafundó (2005)

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pp. 65-109

Inspired by the life of João de Camargo and a book about him, as one of the opening credits in Cafundó declares, this film brackets with a present-day framing device a story that begins shortly after Camargo gains his freedom as a young adult through...

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3. Multiple, Provisional, National Identity Models in Quilombo (1984)

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pp. 110-157

I n a behind-the-scenes documentary by Renata Almeida Magalhães, Quilombo writer and director Carlos Diegues reveals a goal that we can infer from all of the films studied in this book: to redefine Brazilian national identity. The epigraph...

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4. Alternative Understandings of the National Community in Chico Rei (1985)

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pp. 158-186

While the 1984 film Quilombo suggests through Ganga Zumba and Zumbi distinct positions on how their protonational community of Palmares should approach one key issue—whether or not to compromise with a dominant, oppressive...

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5. Flirting with Viewers and Precariously Rethinking Brazilianness in Xica da Silva (1976)

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pp. 187-216

I conclude the book with the earliest film, Xica da Silva (1976). Of the five films that I have examined, Carlos Diegues’s is the most tentative, muddied, and even at times contradictory with respect to the Africanizing of Brazilianness and inviting...

Notes

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pp. 217-250

Works Cited

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pp. 251-258

Index

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pp. 259-272