In this way if it intends to understand the existing crossing between social cinema and relations, in view of that such social representations are characterized by the existing exchanges between individual and society, being understood that seventh art can serve of palco to unchain it of such manifestations of exchange. 1. CHARACTERISTICS OF the BRAZILIAN NEW CINEMA Of the many concepts of cinema bred around of the world the Brazilian New Cinema was sobressaiu that was had in our country as ' ' the great annihilator of the cinema convencional' '. Differentiated of other cinematographic styles this new form of flmica construction cineastas made to grow in Brazil the interest of a composed group for young, a necessity to almost run away from the North American aesthetic standard and its characteristics that if came back, that solely for a type of commercial film. ' ' The New Cinema looked for, over all, a cultural independence for the Brazilian film. This did not mean to have only national subjects, but to find a cinema capable to translate the reality on the basis of national aesthetic authentically brasileira.' ' (FIGUEIRA, 2004, P. 31) the bankruptcy of the great cinematographic producers of So Paulo in middle of the decade of 1950 culminated with the sprouting of idealizers who bet in the cinema of social critical matrix. Completely inserted in the process of affirmation of the favored groups less, Glauber Rock and plus a series of cineastas and thinkers of the time the passions observed the cinematographic movement as being the liberator of all, and in its many speeches added: ' ' I continue closed with my position of a cinema third-mundista. An independent cinema of the economic and artistic point-of-sight, that does not leave the aesthetic creativity to disappear on behalf of a commercial objetividade and of a imediatismo poltico.' ' The citation of Glauber Rock summarizes the thought of the young cineastas of the time that had interest for productions of low budget directed toward the Brazilian reality.