Prefácio: Ficção científica, fantasia e horror no Brasil - 1875-1950. Prefácio: Ficção científica, fantasia e horror no Brasil - 1875-1950 12 de Setembro de 2003 Por João Adolfo Hansen "(...) os leitores de ficção científica estão preparados para muitos futuros". CARD, Orson Scott. "Science Fiction in the 1980s" Conheci Roberto Causo anos atrás, quando me procurou no curso de Literatura Brasileira da USP, por indicação de um colega e amigo, João Alexandre Barbosa, que passara a orientar temporariamente seu trabalho de Iniciação científica após a morte de seu primeiro orientador, o João Luiz Machado Lafetá.
Eu gostava do Lafetá e assumir a orientação da pesquisa -Roberto tinha uma bolsa da FAPESP -era um jeito de lembrá-lo. Achei satisfatória a hipótese, pois era antropológica, atenta à particularidade histórica das representações, e politizava o estudo. Apesar de minha suspeita inicial de que fosse kitsch, a coisa me interessava como prática. ? Em 1882, ele republicou "O imortal", conto de 1872, em que narra a vida de um personagem que vive mais de 250 anos. - El extraño mundo de Zé do Caixão - QuintaDimension.com. Por Pablo Sapere Una reseña del personaje mas extraño que ha dado el cine latinoamericano: Zé do Caixão. Un fenomeno de culto que inspirado a muchos de los monstruos modernos, incluyendo a Freddie Krueger.
El cine fantástico ha mostrado decenas de monstruos relativamente "humanos": Drácula, Frankenstein, La Momia, Freddie Krueger son solo algunos de los más reconocidos. Todos ellos han sido llevados a las pantallas por estudios cinematográficos norteamericanos, generando mitos que siempre han caminado unidos al un fenómeno mas o menos comercial. Sin embargo en el sur de América surgió un fenómeno único en la filmografía mundial: Zé do Caixão, un personaje siniestro surgido en pleno Brasil en década del ´60.
Lo que diferencia a Zé de todo el resto de las creaciones de las películas de horror no sólo es que se desarrolló totalmente al margen de lo que conocemos habitualmente al cine como industria sino que es uno de los raros ejemplos de un monstruo con una identidad "local". HorrormoviesRev2. Colorful imagery. One of the forerunners of modern horror fiction, H. P. Lovecraft (1923/1973), wrote that horror stories project an “atmosphere of breathlessness and unexplainable dread of outer, unknown forces . . . of that most terrible conception of the human brain—a malign and particular suspension or defeat of those fixed laws of Nature which are our only safeguard against the assaults of chaos and the demons of unplumbed space” (p. 15).
The modern master of horror, Stephen King (1981), conceives of “terror as the finest emotion, and so I will try to terrorize the reader” (p. 37). The definition of horror utilized in this paper consists of three parts. Explaining Horror A number of psychosocial models, most with roots in the psychological subfields of personality and social psychology, have been tendered in an effort to explain the enigmatic hold horror pictures seem to have on an audience. Psychoanalysis Catharsis Excitation Transfer Curiosity/Fascination Sensation Seeking Tension. Europa Film Treasures, the treasures from European Film Archives - Europa Film Treasures. Prefácio: Ficção científica, fantasia e horror no Brasil - 1875-1950. El extra o mundo de Z do Caix o. Seccion: Biografías (Lecturas: 13039) Fecha de publicación: Diciembre de 2001 En el sur de América surgió un fenómeno único en la filmografía mundial: Zé do Caixão, un personaje siniestro surgido en pleno Brasil en década del '60, que es uno de los raros ejemplos de un monstruo con una identidad "local".
Pablo Sapere Artículo publicado en el sitio Quinta Dimensión El cine fantástico ha mostrado decenas de monstruos relativamente "humanos": Drácula, Frankenstein, La Momia, Freddie Krueger son solo algunos de los más reconocidos. Todos ellos han sido llevados a las pantallas por estudios cinematográficos norteamericanos, generando mitos que siempre han caminado unidos al un fenómeno mas o menos comercial. Sin embargo en el sur de América surgió un fenómeno único en la filmografía mundial: Zé do Caixão, un personaje siniestro surgido en pleno Brasil en década del ´60. Su primera aparición data de 1964 en À Meia Noite Levarei a sua Alma (A medianoche me llevaré tu alma). The Final Girl: A Few Thoughts on Feminism and Horror. One of the more important, if not groundbreaking, accounts/recuperations of the horror film from a feminist perspective is Carol Clover's Men, Women, and Chainsaw.
One of the book's major points concerns the structural positioning of what she calls the Final Girl in relation to spectatorship. While most theorists label the horror film as a male-driven/male-centered genre, Clover points out that in most horror films, especially the slasher film, the audience, male and female, is structurally 'forced' to identify with the resourceful young female (the Final Girl) who survives the serial attacker and usually ends the threat (until the sequel anyway). So while the narratively dominant killer's subjective point of view may be male within the narrative, the male viewer is still rooting for the Final Girl to overcome the killer. Final Girls: Jamie Lee Curtis in Halloween and Jason Jennifer Leigh in Eyes of a Stranger Ellen Confronts Nosferatu: Sacrificial Passion or Taboo Sexual Desire? Notes. Monsters & Demons - A Short History of the Horror Film. Home Life Holidays Halloween Monsters & Demons: A Short History of the Horror Film By Astrid Bullen Is there a genre more criticized than the horror film?
Not bloody likely. There's the argument that horror films are socially and morally irresponsible, even influencing some people to imitate the brutal methods of the killers portrayed on screen. Horror films actually have the opposite effect on normal people - sick minds will commit atrocities anyway. Watching horror films lets us encounter our secret fears, share them with other viewers, and eliminate the terror by meeting it head-on. The genre is almost as old as cinema itself -the silent short film Le Manoir du Diable directed by Georges Mèliès in 1896 was the first horror movie and the first vampire flick. The most enduring early German horror film is probably F.W. In the nuclear-charged atmosphere of the 1950's the tone of horror films shifted away from the gothic and towards the modern. COFFIN JOE.
Years before Freddy Krueger, another maniacal fiend with long fingernails stalked world cinemas for years in Brazil. José Mojica Marins, one of the most unforgettable director/actors ever, began his bizarre career in 1963 with At Midnight I'll Take Your Soul, a film shot on scraps that turned out to be a huge hit in screens across the nation.
With his top hat, chiseled beard, piercing eyes, flowing black cape, and inhumanly long fingernails, Marins became a celebrity as Zé do Caixão, or "Coffin Joe," a self-centered man who becomes more of a demigod with each film. In At Midnight, the audience recieves not one but two introductions delivered directly to the screen, first from Coffin Joe himself and then from a cackling gypsy woman. We then meet our antihero, Coffin Joe, the undertaker of a small village who terrorizes the citizens with his self centered, violent behavior. As homemade horrors go, however, this is a stunning achievement. B&W/Color, 1966, 107 mins. Picking up shortly. Images - José Mojica Marins: Coffin Joe on DVD. DVD Savant Review: Awakening of the Beast.
The bizarre, disturbing and seemingly anti-establishment content of Jose Mojica Marins' first two Coffin Joe movies made the filmmaker a major media star in Brazil during the 1960s. But his distinctive media profile also brought his work to the attention of the Brazilian authorities. Presumably in an attempt to sidestep the state censor Marins cooked up Awakening of the Beast, a docudrama-cum-mocumentary that served to separate the filmmaker from his sadistic filmic alter ego while still perpetuating and promoting the Coffin Joe mythos.
Unfortunately for Marins, neither the distancing effect of his docudrama/mocumentary approach or his vague criticisms of media effects theory could fully disguise the film's still apparently subversive symbolic content, resulting in Awakening of the Beast being banned outright in Brazil for over twenty years. The reasons for the perceived moral collapse of modern Brazilian society are being debated on the TV show A Light in the Darkness. Depth of Field: José Mojica Marins - Coffin Joe's Theological Terror. As part of a month long celebration of all things scary, SE&L will use its regular Monday/Thursday commentary pieces as a platform to discuss a few of horror’s most influential and important filmmakers. This time around, the Good vs. Evil aesthetic of Brazil’s Jose Mojica Marins. There probably isn’t a more unique filmmaker in the genre of horror than Jose Mojica Marins.
This Brazilian eccentric, a true multimedia giant in his homeland, crosses all boundaries with his films, his television work, his books, and his comics. Over the course of his nearly five decades in the limelight, he has directed dozens of movies, acting in several more, and has turned his unique approach to terror into a solid cottage industry. He’s even dabbled in art, costume and set design, special effects, and has composed the music for his films. He is either loved or hated in his mother country, viewed as a truly gifted artist or merely the man-incarnation of the onscreen demon he portrays. Offscreen :: Jose Mojica Marins: Up-Close and Personal. The man is Jose Mojica Marins, the alias is the sadistic, nihilistic undertaker Coffin Joe, or Zé do Caixão in Portuguese. Marins has had a fascinating life and career, beginning as a youngster making super 8mm films, and growing up through a series of tumultuous political periods in Brazil, where he made the country’s first horror film, and struggled through governmental censorship and the stigma of being a lone horror filmmaker to become one of Brazil’s most visible and widespread (comics, television, film, song, etc.) popular artists.
Marins’ Coffin Joe is one of the most vile, strong headed and antagonistic characters seen in any cinema, and yet he became a hero of sorts for the poor and underprivileged, to the point where he even flirted with politics and social reform. Marins with translator Valerio Marques Offscreen: A question in terms of your birth date because according to the sources I have seen 1929 and 1936.
Jose Mojica Marins: The correct date is 13.03.1936. DVD Verdict Review - The Coffin Joe Trilogy. Not actually a trilogy (only the first two films tell a cohesive story from beginning to end with shared elements), the Coffin Joe box set offers three of director Jose Mojica Marins' initial (and best) work. Beginning with: At Midnight I'll Take Your Soul: Coffin Joe, or as he is known to the local townspeople Zé Do Caixão (pronounced Zé du Caa-shio), runs the local funeral parlor, and for that matter, the tiny village he lives in as well.
He terrorizes the citizens with his anti-religious, iconoclastic rhetoric and abuses (or kills) anyone who challenges or displeases him. Many believe him to be in league with Satan himself, spreading evil and hate wherever he goes. This Night I'll Possess Your Corpse: Zé Do Caixão, who did not die in the first film, is nursed back to health and he returns to continue his quest for the perfect childbearing bride. Awakening Of The Beast: Brazilian society is abuzz with drug-related crime and perversion. At Midnight I'll Take Your Soul. José Mojica Marins. Here some articles from around the globe that I have tracked down and gathered for you here. I have included the information on what magazine these are from. If you see copies of these magazines anywhere, pick them up and read them!
A great introduction article... Includes a brief bio and movie history PLUS an interview with Jose Mojica Marins himself!! A review of THE BLOODY EXOCISM OF COFFIN JOE. Andre Barcinski's brief look at the effects of Coffin Joe on America and info on 5 of the tapes released by SMV. Coffin Joe: The Strange World Of Jose Mojica Marins. Coffin Joe. The Awakening of the Beast (O Despertar da Besta) To many, this is Mojica's masterpiece. It was certainly his most controversial film. Proof is, it was never allowed to be shown in Brazil and was kept in a shelf at the Censorship Board for over 20 years. The film tells the story of a doctor who is conducting experiments with LSD. (b&w - colour 91') - Brazil, 1969 Masterpiece which clearly demonstrates Mojica's cinematic skills. A man appears naked, emerging from the sea, walking towards the town, provocking surprise and fear.
To most people this man could only be a madman or the creature awaited upon by the Mesiah. Yet, who is really 'Finis Hominis'? 79' Colour Year 1970 Hallucinations of a Deranged Mind (aka Delirios de um Anormal) This film follows the life of a patient of a mental hospital who has horrible dreams with the character of Coffin Joe. This weird and creepy film sees creator and creature battling each other. 83' Year of Production 1978 Colour. Offscreen :: Coleção Zé do Caixão — 50 anos do cinema de Jose Mojica Marins. During the third phase of Brazilian Cinema Nôvo in the late 1960s/early1970s, a group of filmmakers reacted to the “Europeanized and elitist language” that they saw in the films of Glauber Rocha, Carlos Diegues, and Nelson Pereira dos Santos. These reactionaries “radicalized the ‘aesthetics of hunger’ by turning out inexpensive black-and-white films in quick succession which rejected technical ‘perfection’….” [1] In São Paulo these filmmakers, “[t]aking their name from a working class district called Boca do Lixo (Mouth of Garbage),” called their movement cinema do lixo—trash cinema. [2] Adopted by this group was the then-unknown film director José Mojica Marins.
Marins started his career as a teenager, making silent 16mm short films with his friends. They hand-delivered the films to nearby towns and local carnivals and frequently supplied live commentaries during shows. Ze terrorising villagers Ze rails against God At Midnight I’ll Take Your Soul (À meia-noite levarei sua alma, 1964)
Untitled Document. O Estranho Mundo de Zé do Caixão, de José Mojica Marins Brasil, 1968 Composto por três episódios (O Fabricante de Bonecas, Tara e Ideologia), O Estranho Mundo de Zé do Caixão é um ensaio cinematográfico de difícil correspondência com outros filmes brasileiros - de qualquer época. Irregular, imprevisível, contraditório, este sétimo longa de José Mojica Marins está mais próximo de um livro de contos fantásticos de Poe ou de Théophile Gautier. Possui uma qualidade genial: parece suspenso no ar, sem qualquer compromisso com a contemporaneidade, e ao mesmo tempo sintoniza-se com diversos aspectos de sua própria época.
Esta é, aliás, a sensação que de um modo geral os filmes de Mojica imprimem. Já no primeiro episódio, O Fabricante de Bonecas, este deslocamento temporal e imaginário é posto logo no princípio: estamos em 1967, numa espécie de boate, e um rock típico da época é dançado como mandavam os padrões de “mau-comportamento”. O jantar é a oportunidade que Odez tem de provar suas teorias. ZE' DO CAIXAO. CINEMA MARGINAL: Eis que surge o renascimento. Cinema de invenção: Setembro 2007. Exclusivo Online - NOTÍCIAS - "Era mais fácil bancarem um vôo para a Lua do que um filme meu" Jossianna Arroyo - Ficcao cientifica, fantasia e horror no Brasil 1875-1950 (review) - Luso-Brazilian Review 41:1. A Boca do Lixo ainda respira. Fantoma. Cinemateca Brasileira. Medo do que. Whistling Shade. The freakium! . revista virtual. Raymond "Coffin Joe" Castile - Blogcritics Video. Film theory. Revista Carcasse - Arquivo.
Estranho Encontro. DEEP CULTURE. Some Came Running: Contemplating Coffin Joe.