Sol, praia, badalação e filmes: o envolvimento do Instituto Nacional do Cinema com os festivais de cinema a partir de um estudo de caso dos eventos da Baixada Santista (1970-1974)

Abstract

This research aims to analyze the involvement of the Instituto Nacional do Cinema (1966- 1975) with the film festivals, using as a study case the four events held in the Baixada Santista during 1970, 1973, and 1974. The INC was an autarchy created by the military dictatorship with the objective of being the body that determined the guidelines for the execution of cinematographic activity in the country. One of its prerogatives was the involvement with international and national festivals, relating to these events in a variety of ways over its nine years. In the INC-period, international festivals were guided by political motivations, with the participation of national governments in the process of sending works to these events. The INC is also the place for contests between the cinematographic production of São Paulo and Rio de Janeiro for the control of the autarchy, causing these clashes to be allocated to festivals that had the participation and control of the Instituto. In addition to the film schedule, a social agenda focused on the presence of celebrities in these events in parallel activities to the exhibitions predominated. Celebrities at festivals, when participating in social programs, caused the so-called hype, which was converted into repercussion and publicity for festivals and associated entities. The Institute would pay greater attention to national events that exhibited feature films thinking about the future insertion of such works in the domestic market, a reflection of the context of the late 60s and early 70s, period of the supposed Economical Miracle and the conquest of the internal market of the brazilian product at your local exhibition place. Brazilian festivals in this context will be used as a market strategy to help in the “conquest”. To make the context of the festivals in Baixada Santista, sources from the 60's and the 70’s were used, as newspapers, magazines, legislation, Resolutions, co-production agreements and contracts, in order to analyze how the INC got involved in the realization of the four festivals and inserted its agenda of interests in these events, what are their characteristics, what they have in common, what they differ, what activities were taken from the Institute to its schedules, how the hype was used as an element of dissemination of these festivals and how the dispute for cinematographic protagonist and control of state power in the sector was in Santos and Guarujá, realizing then how the macro issues of Brazilian cinematography have shifted to micro-events, that is, the festivals. The four events are able to exemplify the two distinct moments in the Institute’s relationship with national festivals: in the period 1966-1972, the INC created a calendar of official events where it included only the ones that were considered relevant, but without any legal organization to do so, in a disorderly and non-standard manner; and from 1973-1975, when Resolution No. 88 was issued, establishing the norms for the holding of Brazilian festivals, creating an apparatus of control and officialization of the Institute that standardizes how it would launch its political-economic spheres in these festivals.