Erika Amaral holds a Master's degree in Cinema from the School of Communications and Arts at the University of São Paulo with the dissertation Representations of country women in Brazilian cinema: Amélia (2000), by Ana Carolina, and Uma vida em segredo (2001), by Suzana Amaral. She has published articles in journals such as Aniki: Revista Portuguesa da Imagem em Movimento and Imagofagia: Revista Virtual de la Asociación Argentina de Estudios de Cine y Audiovisual.
Pra dentro mulher, Geni Prado no cinema de Mazzaropi
A tradição mazzaropiana no cinema é bem conhecida: Mazzaropi é sinônimo de Jeca, o caipira de camisa xadrez puída, caminhar desengonçado, sotaque forte do interior do Brasil, da roça.
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In 1974, Sérgio Ricardo’s A Noite do Espantalho, shot entirely in the Brazilian state of Pernambuco, was shown at the New York Film Festival. It was not until forty five years later, when Kleber Mendonça Filho and Juliano Dornelles’s Bacurau came to the New York Film Festival in 2019, that Ricardo returned to New York City, this time through song.
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This past September, the staff of Limite had the opportunity to conduct an interview with the Workers of the Cinemateca Brasileira (Trabalhadores da Cinemateca Brasileira) , the collective representing the archivists and staff of Brazil’s largest film archive, who have been fighting for nearly an entire year for the survival of this vital institution.
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The following interview took place with archivist Hernani Heffner on July 4th, 2020. Heffner has been working at Rio de Janeiro’s historic Cinemateca do MAM since 1996 and is one of Brazil’s most important film archivists.
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