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became over the years almost a myth — its only copy being almost lost during the 1950s, were it not restored thanks to the personal efforts of two 1970s critics — and the object of various legends, many of them put into circulation by
Peixoto himself. One such legend referred to a bogus
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as an "unknown masterpiece". In 2006, Michael
Korfmann edited a volume that offers ten contemporary views regarding the genesis, aesthetic and reception of the film, gathering contributions by filmmakers and writers from
159:. Only after Peixoto admitted, shortly before his death, that he had himself written the supposed "Portuguese translation" of "Eisenstein's" article, was the general credence given to this legend in Brazil withdrawn.
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253:(republished in 1996). From 1968 on Mário reworked his 1933 original, using it as a basis for an intended extended version that was to be divided in six volumes. So far only the first volume,
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which also includes undated and up till then unpublished material written by Mário. In 2002, another collection of poems written between 1930 and 1960,
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Nevertheless, the restoration of the surviving copy and renewed viewing in the 1970s and 1980s aroused interest in the actual movie. In 1988, the
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has been published, in 1984, through the personal intervention of Jorge Amado, with whom Mário had worked on one of his film projects.
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was being planned and filmed, Mário
Peixoto also began to write and publish. In 1931, he released a collection of poems called
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on 17 May 1931. Peixoto wrote, directed and took up a minor role in the film. Its musical score includes
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complimentary article about the film ("A film from South
America"), that had supposedly been written by
100:; March 3, 1908 – February 3, 1992) was a Brazilian film director, mainly known for his only film
227:(republished in 1996) which is characterized by a strong modernist accent and has a foreword by
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was published. In 1933 Mário published, as a private edition, his first and only novel,
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and a play, that are part of a collection published by Saulo
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was once again declared as such, according to a national inquiry held by the newspaper
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The single-handed achievement of a member of the well-to-do élite of 1920s Brazil,
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Role uncredited, also director, producer, writer, editor and music department.
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and published, in
English translation, in the trendy London magazine
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found the hoard of documents and props that was to become the
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as well as a rare article written by Mário
Peixoto himself.
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There are few publications in
English on Mario Peixoto or
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504:. Rio de Janeiro: Casa de Rui Barbosa, 1996.
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324:In November 2010, a further restoration of
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437:"'Limite' é o melhor filme brasileiro"
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311:Aparecida do Carmo Frigeri Berchior
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445:(in Portuguese). November 30, 1995
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522:. Rio de Janeiro: Quártica, 2010.
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488:. Rio de Janeiro: FUNARTE.
172:film of all time. In 1995
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199:Mário Peixoto Archive
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303:Paulo Venancio Filho
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485:Limite, fotogramas
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63:(1992-02-03)
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205:VideoFilmes
557:Categories
379:References
281:including
119:Erik Satie
80:Occupation
39:1908-03-03
185:In 1996,
170:Brazilian
84:Filmmaker
449:July 14,
421:July 13,
277:and the
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187:director
47:Brussels
51:Belgium
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494:Limite
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364:Limite
352:Notes
346:Title
326:Limite
271:Brazil
262:Limite
225:Mundéu
221:Limite
174:Limite
156:Tatler
146:Limite
108:silent
103:Limite
73:Brazil
349:Role
343:Year
234:Bazar
542:IMDb
473:ISBN
451:2024
423:2024
358:1931
317:and
189:and
137:and
106:, a
58:Died
29:Born
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210:Rio
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