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action agent aggressive allegory ambivalence Angel is Born Angus Fletcher Antonio das Mortes basic black bandit Boca do Lixo Brazil Brazilian Cinema Bressane's camera movements cangaceiro carnival chanchada characters Cinema Novo codes commentary concerning consciousness context cordel literature Corisco coup cultural destiny dialogue Diaz Diaz's diegesis diegetic discourse display dominant Eldorado episode evokes experience expression figure film's filmmaker fragments gangster garbage gesture historical imagery involved irony Jorginho Killed the Family Land in Anguish leftist long take Manuel and Rosa mediation metaphor narration narrative Paulo play political political cinema popular present protagonist radical radio announcers Red Light Bandit reference representation represented Rio de Janeiro ritual Rocha's film Sara scene Sebastiao seen sequence sertao Sganzerla's shanty-town shot social song sound space specific spectator strategies structure style symbolic teleology Third World throughout the film Tonacci's typical underdevelopment Vieira violence white bandit White Devil Women in Love