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The Cinédias pictures begin in the 3Q's his construction ideas of Brazil in the movies. National images might be modern and without poverty and Negroes. Barro Humano (1929) and Mulher (1932) show, in international cinematographicalforms anã national characters, that archaism and prejudice persist in the Brazilian society. Otherwise, Mulher allows knozving that in social practices, for female condition, working is forbidden. Women, in the thirty's, are still condemned to love. [ABSTRACT FROM AUTHOR]