Abstract
Glauber Rocha made the commissioned documentary Amazonas, Amazonas (1966) after Black God, White Devil (1964), employing once more Villa-Lobos’ music: the piece Uirapuru and Guitar studies, some of them already utilized in Arraial do Cabo (Paulo Cezar Saraceni and Mário Carneiro, 1959). We highlight the musical choices and how they, in conjunction with images and other sound elements, act in Amazonas, Amazonas, in view of the representations of the Amazon region, among myths, its deconstruction, and evocations of underdevelopment and progress, in an aesthetic between institutional film and Cinema Novo. We observe that in the distribution of the two sets of pieces (Uirapuru and guitar pieces) throughout the film, besides a temporal relation with a mythical past or with the present of the region, there is a geographical logic. We also highlight reemployments of Uirapuru in other films.
Keywords
Cinema Novo; Glauber Rocha; Villa-Lobos; Cinema and Music; Representations