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Since 1940, it has been developing activities around the dissemination and restoration of its collection, with around 250 thousand rolls of films and more than one million documents related to cinema. It is located in Largo Senador Raul Cardoso, São Paulo. The building previously acted as the Old Municipal Slaughterhouse of São Paulo from 1887 to 1927.
It had the largest collection of "moving images" in Latin America and is one of the largest institutions of its kind in the world. It preserved a large part of the nation's cinematographic content and houses the greatest collection of Brazilian cinema, with more than 250,000 rolls of film. These corresponded to 45,000-90,000 titles among the works produced since 1895. The library collection consisted of more than 1,000,000 documents, including censorship certificates, invitations and a huge collection containing around 3,000 scripts and 8,000 movie posters, of which 2.6 are related to national cinema.[1][2]
In addition, it possessed a large collection of documents including books, magazines, original scripts, photography and posters. Its database offers online access through its website.
The Cinemateca Brasileira project was born when Paulo Emílio Salles Gomes, at the time a bachelor of philosophy from the University of São Paulo (USP), emigrated to Europe after escaping his arrest for having participated in the 1935 Communist Uprising. During his stay in France, he worked directly at the Cinémathèque Française, where he discovered the importance of audiovisual work's preservation.
Back in Brazil in 1940, he started his project to spread this cinematographic culture in the country by founding, together with colleagues from USP including Décio de Almeida Prado and Antonio Candido, the first Clube de Cinema de São Paulo (Film Club of São Paulo). The Club proposed to study cinema through projections, conferences, debates and publications. However, the project struggled to grow. Created during the Estado Novo dictatorship period under the government of Getúlio Vargas, the first São Paulo Film Club was closed by the Press and Propaganda Department (DIP), forcing Emílio to operate clandestinely at the residence of Emílio Machado and Lourival Machado from 1941 onwards.
After several attempts to organize film clubs, the creation of the second São Paulo Film Club was made official in 1946, 5 years after the closure of the first. Directed by Almeida Salles, Múcio Porphyrio Ferreira, Rubem Biáfora, Benedito Junqueira Duarte, João de Araujo Nabuco, Lourival Gomes and Tito Batini, the association brought back Emílio's idea and created the Cinemateca Brasileira. Emílio's experience as a researcher at the Cinémathèque Française and with Henri Langlois - the director of the institution - were partially responsible for his commitment to the creation of the Cinemateca. In September 1947, the Club joined the International Federation of Film Societies (IFFS), which provided access to a small collection of films, but the real construction of the film archive began in 1948, following the club's affiliation to the International Federation of Film Archives (FIAF).
In March 1949, the club established an agreement with the then-recently created Modern Art Museum of São Paulo (MAM) for the creation of the Film Library of the Museum of Modern Art of São Paulo. The aim was to strengthen the Cinemateca Brasileira with large exhibitions held in conjunction with other cultural institutions in São Paulo, and to generate spectators with critical capacity. The disbandment of the MAM in search of greater autonomy came in 1956, when the Club became a non-profit civil society of the same name as their archive with the intention of preserving the national and universal cinematographic heritage. In 1984, the Cinemateca was incorporated into the federal government as a department of the Ministry of Education and Culture (MEC, now the Ministry of Education). On August 12, 2003, the Cinemateca Brasileira was incorporated into the Audiovisual Department of the Ministry of Culture, which had split from the MEC in 1985.
The Cinemateca Brasileira was established in 1992 in the Old Municipal Slaughterhouse - a building designed by the architect Alberto Kuhlmann. It was built in 1887 to revive the former slaughterhouse in the lowland of Humaitá, which had existed since 1856 and was listed by CONDEPHAAT (the Council for the Defense of the Historical, Artistic, Archaeological and Touristic Heritage of the State of São Paulo). The Cinemateca makes use of the remaining buildings from the "historic core" of the former slaughterhouse, which have been restored and adapted to its current needs as a documentation center, support areas, restrooms, movie theaters and locations for the hosting of events. In addition to the old buildings, facilities were also added to house film restoration laboratories, warehouses, matrix archives and administrative areas.
Although the Cinemateca has been incorporated[clarification needed] by political departments throughout its history, it has been a difficult to maintain. Both public and private institutions have shown resistance in financing the projects and providing capital. The patrons, Assis Chateaubriand and Francisco Matarazzo Sobrinho, didn't see sufficient reason for the Cinemateca Brasileira's existence. The public authorities often refused to finance this parallel distribution and preservation center, giving preference to the commercial film circuit.
Paulo Emílio Salles Gomes wrote about the few resources of the Cinemateca in a 1985 text written about the filmmaker Eisenstein:
The day before yesterday, January 23, the 60th anniversary of the birth of Sergei Mikhailovitch Eisenstein was celebrated in all cinematheques around the world. Since the beginning of last year, Cinemateca Brasileira will project for this occasion a retrospective of the complete work of the Russian filmmaker. However, the penury situation in which the Cinemateca finds itself forced the postponement of the project. This article is the latest in a series that was written in a derisory attempt at compensation.[This quote needs a citation]
The Cinemateca Brasileira had one of the largest cinematographic collections in Brazil. Emílio also made the principle behind his concept very clear, as part of a comprehensive project aimed at public education and cultural policies in the country. He highlighted its importance as a revolution in the educational field.[citation needed]
Three different fires, one each in 1957, 1969 and 1982, caused damage to the structures and destruction of items in the archived collections at the Cinemateca Brasileira.[3]
On 2 April 2016, the archive reported that a fire had destroyed 500 films.[4]
Lygia Fagundes da Silva Telles was a Brazilian novelist and writer. Educated as a lawyer, she began publishing soon after she completed high school and simultaneously worked as a solicitor and writer throughout most of her career. She was a recipient of the Camões Prize, the highest literary award of the Portuguese language and her works have received honors and awards from Brazil, Chile and France. She was elected as the third woman in the Brazilian Academy of Letters in 1985 and held Chair 16.
Ronald Golias was a Brazilian comedian and actor.
Brazilian cinema was introduced early in the 20th century but took some time to consolidate itself as a popular form of entertainment. The film industry of Brazil has gone through periods of ups and downs, a reflection of its dependency on state funding and incentives.
Limite is a film, directed, written and produced by Mário Peixoto, who was inspired by a photograph by André Kertész. Limite was filmed in 1930 and first screened in 1931. It was restored from 1966 to 1978 from a single damaged nitrate print, and one scene remains missing.
O Trem da Morte is a 1924 Brazilian film directed by José del Picchia, and starring Olga Navarro. It was produced by Hélios Filme. It is a semidocumentary film, which use real scenes, of the Revolution of 1924—a lieutenant revolt in São Paulo.
A cinematheque is an archive of films and film-related objects with an exhibition venue. Similarly to a book library, a cinematheque is responsible for preserving and making available to the public film heritage. Typically, a cinematheque has at least one motion picture theatre, which offers screenings of its collections and other international films.
The Cinémathèque québécoise is a film conservatory in Montreal, Quebec, Canada. Its purpose is to preserve, document, film and television footage and related documents and artifacts for future use by the public. The Cinémathèque's collections include over 35,000 films from all eras and countries, 25,000 television programmes, 28,000 posters, 600,000 photos, 2,000 pieces of historical equipment, 15,000 scripts and production documents, 45,000 books, 3,000 magazine titles, thousands of files as well as objects, props and costumes. The conservatory also includes a film theatre which screens rarely seen film and video.
I Love You is a 1981 Brazilian drama film directed by Arnaldo Jabor. It was shot along the Rodrigo de Freitas Lagoon, Lagoa, Rio de Janeiro. It was screened in the Un Certain Regard section at the 1981 Cannes Film Festival.
Joanna Francesa is a 1973 French-Brazilian romantic drama film directed by Carlos Diegues and starring Jeanne Moreau, Eliezer Gomes and Carlos Kroeber. In the 1930s, Joanna, the owner of a brothel in São Paulo, goes to Alagoas and falls in love with a customer.
The São Paulo Museum of Image and Sound is a public museum of audio-visual works, established in 1970 and located in São Paulo, Brazil. The museum was founded as a result of a project conducted in the 1960s by Brazilian intellectuals, such as Ricardo Cravo Albin, Paulo Emílio Salles Gomes and Rudá de Andrade, with the purpose of endowing the country with institutions devoted to studying and documenting works of the new media that had been ignored by traditional museums.
Cinemateca Uruguaya is a non-profit cinematheque in Montevideo, Uruguay, established in 1952, that aims to support the cultural development of cinema, and of art in general. Since its inception, it has belonged to the International Federation of Film Archives (FIAF). It is also a founding member of the Latin American Coordinating Committee of Moving Image Archives (CLAIM), and advisory member of the Audiovisual and Film Institute of Uruguay (ICAU).
Eles Não Usam Black-tie is a 1981 Brazilian drama film directed by Leon Hirszman, based on Gianfrancesco Guarnieri's play of the same name.
The Association of European Cinematheques is an affiliation of 49 European national and regional film archives founded in 1991. Its role is to safeguard the European film heritage and make these rich audiovisual records collected and preserved by the various film archives accessible to the public. ACE is a regional branch of FIAF Fédération Internationale des Archives du Film / International Federation of Film Archives. ACE members are non-profit institutions committed to the FIAF Code of Ethics.
Lucio Flavio is a 1977 Brazilian film directed by Héctor Babenco based on the book of the same name by José Louzeiro, who co-wrote the screenplay. It stars Reginaldo Faria as Lúcio Flávio, a famous bandit in Rio de Janeiro in the 1970s. Babenco did not want to limit the story to Lúcio Flávio, and stated it was also a film about Esquadrão da Morte, a death squad from the 1960s.
Barro Humano is a 1929 Brazilian film directed by Adhemar Gonzaga, starring Gracia Morena, Lelita Rosa, Carlos Modesto and Eva Schnoor in the main roles. Carmen Miranda would have appeared as an extra in a scene.
Clima was a cultural magazine published in Sao Paulo, Brazil. Ismail Xavier argues that although it existed for a brief period from 1941 to 1944, the magazine significantly influenced cultural criticism in Brazil.
Lírio Mário da Costa, better known as Costinha, was a Brazilian comedian and actor.
A Casa Assassinada is a 1971 Brazilian drama film directed by Paulo Cesar Saraceni, based on Lúcio Cardoso's book Chronicle of the Murdered House.
Ida Gomes, stage name of Ita Szafran was a Brazilian actress and voice actress born in Poland.
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