ABSTRACT
The capture and processing of moving images from color negatives in Brazil is significantly developed in the late 1960s. At the time, modern Brazilian cinema witnessed a clash between cinemanovistas and experimental filmmakers. The confrontation takes on a peculiar contour regarding the use of color. This work intends to discuss some dimensions of this debate, based on a body of films and directors able to externalize a proposal aligned with tropicalist art. It is concluded that color may represent a complex agenda linked to the idea of industrialization.
KEYWORDS:
Color; Modern Brazilian cinema; Tropicalist art; Industrialization