Cinema and Politics: the representation of journalism and political marketing in Brazilian cinema
The Brazilian cinema of the nineties seeks to diagnose the rapid changes that have occurred in the field of communication in this period. Lúcia Murat's film Candy Powers shows how Brazilian journalism, when subjected to political marketing and advertising, loses its role as a primary source of...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2008 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Revista FAMECOS: Mídia cultura e tecnologia |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/3447 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/revistafamecos/article/view/3447 |
| Access Level: | acceso abierto |
| Palabra clave: | Cinema journalism marketing Cinema and representation jornalismo Cinema e representação |
| Sumario: | The Brazilian cinema of the nineties seeks to diagnose the rapid changes that have occurred in the field of communication in this period. Lúcia Murat's film Candy Powers shows how Brazilian journalism, when subjected to political marketing and advertising, loses its role as a primary source of information and opens space for "news as a product." Although the film apparently aims to throw a critical eye on the situation of journalism of the nineties, the cinematic language and the narrative structure used in it undermine its intent, thus revealing the weaknesses and limitations of Brazilian cinema with political bias. |
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