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The dominant culture, so to say, at once produces and limits its own forms of counter culture” (114). Therefore, to use Williams’s thought in this context, Mazzaropi’s work also has to be seen as an integral part of the ideological construction of Brazil. Consider, for example, Antonio Querino Neto, a member of the established metropolitan intellectual elite, whose comments on Mazzaropi’s films, at the same time they disdain and degrade Mazzaropi’s work, cannot completely reject what they represent.

In addition, the film manages to use every opportunity to discuss sexuality and identity. The first identity that needs to be stated clearly is the status of the film itself. So, shortly after the credits, the following text appears on the screen: O fuzileiro deste filme é um personagem fictício e de maneira nenhuma encarna o verdadeiro fuzileiro de nossas forças armadas. O nosso fuzileiro faz de tudo que um naval não deve fazer. 36 ● Amácio Mazzaropi in the Film and Culture of Brazil (The soldier of this film is a fictitious character and in no way embodies a real soldier in our armed forces.

Sexuality, in its turn, is also divided into two levels: the animal and the political. In the first scene of the movie, the mayor is in bed with his wife. When he moves closer to her, he disturbs the little bitch who shares the bed with them. The wife then expels him from the bed, calling him malvado—(bad). It is at this moment that the mayor has the idea to create the function of a dog catcher for the town. This way, he reasons, he can get rid of his wife’s dog. In a further development in the story, Jacinto knows that his love affair with Linda will be successful because she loves animals just as much as he does.

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