The primitive flirts with the modern: Carmen Miranda´s films as staging of the relations between the United States and Latin America in the Good Neighbor Policy
This paper discusses and relates three scenes regarding the first three Carmen Miranda films in the United States, Down Argentine Way (1940), That Night in Rio (1941) and Week-End in Havana (1941). The goal is to discuss how the sceneries of the chosen scenes dialogue, establishing in the cinematogr...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Brasil |
| Institución: | Universidade Federal de Goiás (UFG) |
| Repositorio: | Visualidades (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistas.ufg.br:article/57401 |
| Acceso en línea: | https://revistas.ufg.br/VISUAL/article/view/57401 |
| Access Level: | acceso abierto |
| Palabra clave: | Carmen Miranda Good Neighborhood Movie Boa Vizinhança Filme La politique de bon voisinage Cinéma |
| Sumario: | This paper discusses and relates three scenes regarding the first three Carmen Miranda films in the United States, Down Argentine Way (1940), That Night in Rio (1941) and Week-End in Havana (1941). The goal is to discuss how the sceneries of the chosen scenes dialogue, establishing in the cinematographic narrative a strong duality between modern and civilized versus delay, agrarian and savage, as representations of the relations between the United States and Latin America in the context of Good Neighbor Policy. |
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