Underlying conflicts between Vladimir Herzog and Paulo Emílio Salles Gomes? Different views on Brazilian cinema during the 1960s

From an intellectual historical perspective, this essay analyzes the political-ideological disputes behind different projects for Brazilian cinema in the 1960s, focusing on two key figures: Paulo Emílio Salles Gomes and Vladimir Herzog. Salles Gomes, a renowned film critic and leader of the Cinemateca Brasileira and Brazil’s first undergraduate film course in Brasília, is often depicted as an undisputed supporter of Cinema Novo and a mentor to younger generations. Herzog, initially a volunteer at the Cinemateca in the late 1950s, developed critical ideas on filmmaking, but his contributions remain overshadowed by his tragic murder by the Brazilian Military Regime in 1975. This essay examines Herzog’s critique of Brazilian cinema in the 1960s, hypothesizing that his statements challenged the industrial vision for Brazilian cinema supported by Salles Gomes, even as Cinema Novo gained prominence. Through a discourse analysis of newspaper articles by both intellectuals (1956–1969) and Herzog’s selected correspondence with friends, this essay explores intellectual exchanges that reveal the disputed and multifaceted nature of institutional projects. It argues that no cultural or institutional vision is monolithic; instead, they are shaped by overlooked dimensions and internal conflicts. This essay offers a new perspective on Brazilian film cultural and institutional history.