Within a year of the Lumiere brother's 'first experiment' in Paris in 1896, the cinematography machine appeared in Rio de Janeiro. Ten years later, the capital boasted 22 cinema houses and the first Brazilian feature film, Os Estranguladores ("The Stranglers") by Antonio Leal, had been screened. From then on Brazil's film industry made continuous progress and, although it has never been large, its output over the years has attracted international attention. In 1930, still the era of the silent movie in Brazil, Mario Peixoto's film, Limite was made. Limite is a surrealist work dealing with the conflicts raised by the human condition and how life conspires to prevent total fulfillment. It was considered a landmark film in the Brazilian cinema history. the great Soviet director Sergie Eisenstein called the film "an extremely beautiful film which one should submit oneself to right from the very first moments, as to the agonizing chords of a synthetic and pure language of cinema ( Johnson et al. 309).

In 1993 Cinedia produced Alo, Alo, Carnival ("The Voice of the Carnival"), the first film with Carmen Miranda. This film ushered in the 'chanchada' which dominated Brazilian cinema for many y

With a sudden change of Brazillian cultural laws in the last 2 years, the Brazillian "audio-visual" area's such as film, television, and radio have flourished. The national production of films were stagnant from the 1990 - 1992 due to the radical cuts in government fiscal and artistic incentives made at the time of the Collor administration. By 1993 the demand for more "audio-visual" products prompted the law to incentive "audio-visuals". Once created and passed by the senate, 2 films were produced. In 1994, 5 films were produced, in 1995, 17 were produced, and in 1996, 22 films were made. By 1997, 30 films were produced. This increase gives us the conclusion that with the establishment of the new law, there was a growth of national films.

Johnson, Randal. Cinema Novo. 5th ed. Austin: University of Texas Press, 1984.

The Federal Constitution clearly established in the 2 articles (215, and 216) states that the competency of the state guarantee's the cultural rights. Also access to the cultural source, value and incentivation of the cultural productions and preservations of national heritage. Especially the ones from the various ethnic groups and trends that encompass the Brazillian society. So the three fundamental dimensions of the cultural phenomenon (creation, diffusion, and preservation) are contemplated in the constitutional text. This places them under the public responsibilities in collaboration with its society.

ears. While the chanchada remained popular for several decades, with hundreds of examples, it slowly declined into vulgarity, and became the 'pornochanchada' by the 1970's. The chanchada, though popular, was not popular enough to beat out the foreign films (now dubbed in Portuguese), still dominating Brazilian markets. It also left the giant taste of Brazil's tropical stereotypes in the mouths of the world: "the image of Brazil, for many Brazilians, is a bewildering potpourri of piranha infested waters, samba and romance, carnival and coffee, Black Orpheus and Carmen Miranda (Johnson et al. 351).

Working at the same time as the Tropicalists were the 'cinema marginal' movement. This was another group of directors that emerged in San Paolo and Rio de Janeiro who also made low cost films. The group produced film's with theme's that referred to a marginal society. Their films were considered 'difficult'. In 1969 the government film agency, Embrafilme was created. They were responsible for the co-production, financing, and distribution of a large percentage of films in the 1970's and 1980's. Embrafilme added a commercial dimension to the film industry and made it possible fo

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