This paper seeks to analyze a film by Humberto Mauro, O descobrimento do Brasil (1937), with the counterpoint of the film by Nelson Pereira dos Santos, Como era gostoso meu francês (1970). Both deal, in various forms and even opposing, an emblematic aspect of the narrative on nation building: the "discovery" of Brazil and the first contacts between colonizer and colonized. I try to understand how such works converse with other reference documents, and pictorial imagery to make their representations and discourses about what they consider "true" national identity.
Brazilian cinema; Thinking of cinema in Brazil; Cinematographic national imaginary; National identity; Humberto Mauro; Nelson Pereira dos Santos
