Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Figures vii
4. The Contributors xii
5. Acknowledgements xviii
6. Introduction 1
7. Part I Intervisuality
8. 1 Traffic in Images: Visual Spectacle before Cinema in Brazil 17
9. 2 Intermedial Landscapes in the Work of Cao Guimarães 39
10. 3 ‘The most innocent film of the year’: Comic Books, Sex and Cinema Marginal 51
11. 4 Photographs of the Invisible: Intermedial Figurations of Social Exclusion in Babás and Aquarius 71
12. 5 Exploring the Cinematic Imaginary: Carlos Adriano, André Parente and the Precision of the Vague 94
13. Part II The Empire of Music
14. 6 Watson Macedo’s Aviso aos navegantes (1950): Reflections on the Musical Numbers of a Brazilian Chanchada 113
15. 7 (In)Visible Musicians: Supporting Instrumentalists and their Intermedial Vocation 131
16. 8 Music-video Aesthetics in Pernambucan Cinema 144
17. 9 Possessing Archival Images: Ghosts, Songs and Films in Cartola – música para os olhos (2007) 159
18. Part III Entertainment Circuits
19. 10 Intermediality in Brazilian Silent Cinema: Luiz de Barros’s Works and Intermedial Strategies 177
20. 11 ‘Synchronised Film Fever’ amid the ‘Gramophonoradiomania’: Record, Radio and Cinema at the Dawn of the ‘Talkies’ in Rio de Janeiro 194
21. 12 The Singer, the Acrobats and the Bands: A Study of Three Brazilian Films and their Intermedial Characters 215
22. 13 Gilda de Abreu’s O Ébrio as a Unique Intermedial Project 228
23. 14 Chanchada, Samba and Beyond: From the Cinema of Radio to the Cinema of Television (1930s–1960s) 243
24. Part IV From Impure Cinema to Cosmopoetics
25. 15 Impure Cinema as Method: The Last Films of Eduardo Coutinho 261
26. 16 Queering Intermediality in Brazilian Cinema 274
27. 17 The Humiliation of the Father: Theatrical Melodrama and Cinema Novo’s Critique of Conservative Modernisation 288
28. 18 Intermedial Territories: Maps and the Amazonian Moving Image 307
29. 19 An Intermedial Reading of Glauber Rocha’s Cosmogony 323
30. Index 345