de Oliveira Falcao, Priscila
MetadataShow full item record
The term ‘Borderline Cinema’ may sound strange at first, even for scholars and film aficionados. It may also sound like something unprecedented, modern, a result of the changes and re-adaptations in the film industry that happen through the advances of digital media and new advertising markets. The term connotes a range of possibilities, from national borders to lines between cinema and other forms. In recent years, driven by the industrialization process and the rapid changes in digital technology happening around the world, new formats of film productions have emerged. One of these new production formats is Borderline Cinema. This type of cinema has existed for years specifically in the Brazilian suburbs, yet it remains largely unknown and marginalized. The process of creating a Borderline production involves more than technical knowledge, but also a social, political and economic conjuncture which is intrinsically linked to the history of Brazilian cinematography. Despite being marginalized by the mainstream film market, Borderline filmmakers are not entirely excluded from having access to cameras, media, and technology. This creates a form of social engagement with global and local cultures. Nestor García Canclini (1995) and Stuart Hall (2000) define this relation as a form of cultural hybridity that is capable of forming new spatial and social relationships, as well as creating new types of production models. With the implementation of the incentive law mechanisms in the 1990s, Brazil boosted its film production in the country and created new formats for the sponsoring of cultural activities. Once invisible, Borderline Cinema started to gain attention from the market, which was interested in promoting festivals and debates around these films. These changes raised questions, such as what are the incentives behind the promotion of Borderline Cinema festivals? Is the scenario for this type of film finally being legitimatized in Brazil? After the establishment of incentive laws mechanisms for the cultural sector in Brazil, the country was involved in a conjuncture where the cultural production is directly associated with marketing strategies and commercial appeal, placing Borderline Cinema in a critical position that needs to be analyzed and studied.