Question: In what century did Brazilian cinema get new international acclaim?
About the article "Brazil", section "Culture".

Candidate passages:
The core culture of Brazil is derived from Portuguese culture, because of its strong colonial ties with the Portuguese empire.
Among other influences, the Portuguese introduced the Portuguese language, Roman Catholicism and colonial architectural styles.
The culture was, however, also strongly influenced by African, indigenous and non-Portuguese European cultures and traditions.
Some aspects of Brazilian culture were influenced by the contributions of Italian, German and other European as well Japanese, Jewish and Arab immigrants who arrived in large numbers in the South and Southeast of Brazil.
The indigenous Amerindians influenced Brazil's language and cuisine; and the Africans influenced language, cuisine, music, dance and religion.
Brazilian art has developed since the 16th century into different styles that range from Baroque (the dominant style in Brazil until the early 19th century) to Romanticism, Modernism, Expressionism, Cubism, Surrealism and Abstractionism.
Brazilian cinema dates back to the birth of the medium in the late 19th century and has gained a new level of international acclaim since the 1960s.
Cinema has a long tradition in Brazil, reaching back to the birth of the medium in the late 19th century, and gained a new level of international acclaim in recent years.
The documentary film "Bus 174" (2002), by José Padilha, about a bus hijacking, is the highest rated foreign film at Rotten Tomatoes.
"O Pagador de Promessas" (1962), directed by Anselmo Duarte, won the Palme d'Or at the 1962 Cannes Film Festival, the only Brazilian film to date to win the award.
Fernando Meirelles' "City of God" (2002), is the highest rated Brazilian film on the IMDb Top 250 list and was selected by Time magazine as one of the 100 best films of all-time in 2005.
The highest-grossing film in Brazilian cinema, taking 12 million viewers to cinemas, is "Dona Flor and Her Two Husbands" (1976), directed by Bruno Barreto and basead on the novel of the same name by Jorge Amado.
Acclaimed Brazilian filmmakers include Glauber Rocha, Fernando Meirelles, José Padilha, Anselmo Duarte, Walter Salles, Eduardo Coutinho and Alberto Cavalcanti. 
Amir Naderi grew up in Abadan, a working-class port city in the south of Iran.
He became interested in photography and cinema at an early age.
As a filmmaker he was inspired by Henri Cartier-Bresson's photography of urban experience and everyday life, as well as the aesthetics of Italian neorealist cinema, such as location shooting, the use of nonprofessional actors, looser narrative structures, and a focus on the plight of poor and working-class people.
Naderi's early films explored similar themes and visual strategies, but they did so within the context of Iranian life and culture.
Naderi made his directorial debut with "Goodbye Friend" in 1971.
Iranian film scholar Hamid Naficy cites Naderi's film "Harmonica" as an important example of how Iranian prerevolutionary films strived to represent lower-class experience and struggles without incurring state penalties or angering censors.
Naderi continued to make films after the Iranian revolution.
His 1984 film "The Runner" is one of the seminal films of this period in Iranian cinema.
The Runner gained wide critical recognition on the international film festival circuit and it brought wider attention to what has since become the celebrated "postrevolutionary art-house" cinema in Iran.
The Runner and other films Naderi made in the 1980s helped develop and promote some of the visual and narrative strategies that would also appear in the works of other Iranian art-house film directors.
However, these films already hinted and anticipated the director's desire to leave Iran; Hamid Naficy called them "proto-exilic" films.
By the 1990s, Naderi emigrated to the United States.
Film scholar Alla Gadassik argues that Naderi's films both before and after his move to the United States share a preoccupation with displacement, fragmented spaces and solitude.
The films also emphasize the importance of sensory experience and corporeal endurance in locating one's home in the world.
In this, Naderi's work is exemplary of wider themes and motifs in Iranian diasporic cinema.
Due to smaller distribution and advertising budgets, Naderi's films are not as well known as most Hollywood films.
Despite that and the lack of recognizable actors in most of his films, his work tends to find distribution (mainly in Europe and Japan), and he has earned a great deal of critical acclaim.
Naderi’s films and photography are also frequently the subject of retrospectives at major festivals and museums throughout the world.
Lincoln Center in New York, the city that has been his home for the past 20 years, offered a complete retrospective of his work in 2001, as did the International Museum of Cinema in Turin, Italy in 2006.
The most recent retrospective of his work was screened at the Busan International Film Festival, the largest in Asia.
Naderi has served as a jury member of international film festivals for over a decade.
His 2011 film "Cut" was shot entirely in Japanese and stars Hidetoshi Nishijima.
Amir Naderi continues to produce works of new generation of film directors such as Andrei Severny's "Condition" (2011), Naghmeh Shirkhan's "Hamsayeh" (2010) and Ry Russo-Young's "Orphans" (2007). 
 Theatre Brazil.
In the 19th century, Brazilian theatre began with romanticism along with a fervor for political independence.
During this time, racial issues were discussed in contradictory terms, but even so there were some significant plays, including a series of popular comedies by Martins Penna, Franqa Junior, and Arthur Azevedo.
In the 20th century, the two most important production centers for professional theatre were São Paulo and Rio de Janeiro.
They were centers of industrial and economic development.
Even with the development of these two theatres, World War I brought an end to tours by European theatres so there were no productions in Brazil during this time.
In November 1927, Alvaro Moreyra founded the Toy Theatre (Teatro de Brinquedo).
Like this company, it was in the late 1920s when the first stable theatre companies formed around well-known actors.
These actors were able to practice authentic Brazilian gestures gradually freed from Portuguese influence.
Except for some political criticism in the low comedies, the dramas of this period were not popular.
Occasionally the question of dependence on Europe or North America was raised.
Even with more Latin American influence of theatre starting to filter in, its theatre still was under heavy influence of Europe.
The Brazilian Comedy Theatre (Teatro Brasileiro de Comédia) was created in 1948Oswald de Andrade wrote three plays; "The King of the Candle" ("O Rei da Vela", 1933), "The Man and the Horse" ("O Homem e o Cavalo", 1934).
and "The Dead Woman" ("A Morta", 1937).
They were an attempt to deal with political themes, nationalism, and anti-imperialism.
His theatre was inspired by Meyerhold's and Brecht's theories, with a political sarcasm like Mayakovsky.1943 at The Comedians: Polish director and refugee from the Nazis, Zbigniew Ziembinsky, staged in expressionist style Nelson Rodrigues' "A Bride's Gown" ("Vestido de Noiva").
With this production, Brazilian theatre moved into the modem period.
World War II saw Brazil gain several foreign directors, especially from Italy, who wanted to make a theatre free from nationalistic overtones.
Paradoxically, this led to a second renewal which engaged popular forms and sentiments; a renewal that was decidedly nationalistic with social and even communist leanings.
During this time, the Stanislavsky system of acting was most popular and widely used.
Stanislavski himself came to Brazil via Eugenio Kusnet, a Russian actor who had met him at the Moscow Art Theatre.
The next phase was from 1958 to the signing of the Institutional Act Number Five in 1968.
It marked the end of freedom and democracy.
These ten years were the most productive of the century.
During these years dramaturgy matured through the plays of Guarnieri, Vianinha, Boal, Dias Gomes, and Chico de Assis, as did mis-en-scene in the work of Boal, Jost Celso Martinez Correa, Flivio Rangel, and Antunes Filho.
During this decade a generation accepted theatre as an activity with social responsibility.
At its height, this phase of Brazilian theatre was characterized by an affirmation of national values.
Actors and directors became political activists who risked their jobs and lives daily.
Through this growth of Latin America politically and the influence of European theatre, an identity of what is theatre in Latin America stemmed out of it.
Modern painting Modern painting was born in Brazil in Modern Art Week in 1922.
Among the artists who have excelled in the 20th century, are Tarsila do Amaral and his cubist influence, as Di Cavalcanti, Candido Portinari also influenced by Cubism and Expressionism is the great names of Brazilian art and is the painter of "War and Peace", a panel at the United Nations in New York.
Photograpy Brazilian contemporary photography is one of the most creative in Latin America, growing an international prominence each year with exhibitions and publications.
Names like Miguel Rio Branco, Vik Muniz, Sebastião Salgado, Guy Veloso, and others, get strong. 
In this landscape of pulp, there remained some ground for an alternative cinema or art cinema, due at least in part to the influence of the New Wave.
Some New Wave filmmakers such as Ann Hui and Yim Ho continued to earn acclaim with personal and political films made at the edges of the mainstream.
The second half of the 1980s also saw the emergence of what is sometimes called a "Second Wave."
These younger directors included names like Stanley Kwan, Clara Law and her partner Eddie Fong, Mabel Cheung, Lawrence Ah Mon and Wong Kar-wai.
Like the New Wavers, they tended to be graduates of overseas film schools and local television apprenticeships, and to be interested in going beyond the usual, commercial subject matters and styles (Teo, 1997).
These artists began to earn Hong Kong unprecedented attention and respect in international critical circles and the global film festival circuit.
In particular, Wong Kar-wai's works starring Leslie Cheung, Tony Leung Chiu-Wai and Maggie Cheung in the 1990s has made him an internationally acclaimed and award-winning filmmaker.