In Brazil, the Cinema Novo (New Cinema) movement, anticipated by Nelson Pereira Dos Santos with (1955, inspired by Neo-Realism), drew international attention to the country's most impoverished people and to its most accomplished director, Glauber Rocha, who directed the mythological (1964). His manifesto (1965) defined the New Cinema movement: "hunger in Latin America is not simply an alarming symptom; it is the essence of our society. Herein lies the tragic originality of Cinema Novo in relation to world cinema. Our originality is our hunger and our greatest misery is that this hunger is felt but not intellectually understood." While direct political content was suppressed in Brazilian cinema, censorship of sexual imagery was relaxed in the 1970s, leading to a series of soft-core sexploitation Cinema de Boca (Films of the Mouth) comedies known as Pornochanchades (as seen in the 1978 compilation film , by Victor di Mello and Lenine Otoni).
Alain Resnais directed (1961), which challenged the formal conventions of the cinema like almost no other film. The New Wave was still dominated, however, by Jean-Luc Godard, whose films of the period include (1965) and (1967). In the apocalyptic , the jump-cuts and hand-held cameras of gave way to increasingly alienating devices, such as inter-titles and direct-to-camera monologues, which broke away from the illusion of realism.
I think that as the novel continues on, it becomes easier to realize how similar the monster an Frankenstein are. In the story they both utilize revenge. After Victor destroyed the female monster he was making for the monster so he had a companion, the monster acted out in rage and wanted Victor to know what it felt to be alone. In the end of the story the creature and Frankenstein are most similar because they both end up alone after the creature kills Elizabeth, Victors new wife on the night of their wedding.