shot in color and to depict middle-class protagonists was released during this time: Leon Hirzshman's Garota de Ipanema ("Girl from Ipanema," 1968). Third phase and Cinema Marginal (1968–1972) Hans Proppe and Susan Tarr characterize Cinema Novo's third phase as "a mixed bag of social and political themes against a backdrop of characters, images and contexts not unlike the richness and floridness of the Brazilian jungle". Third-phase Cinema Novo has also been called "the cannibal-tropicalist phase" or simply the "tropicalist" phase. Tropicalism was a movement that focused on kitsch, bad taste and gaudy colors. Film historians refer to cannibalism both literally and metaphorically. Both types of cannibalism are visible in Como Era Gostoso o Meu Francês ("How Tasty Was My Little Frenchman," 1971), in which the protagonist is abducted and eaten by literal cannibals at the same time it is "suggested that the Indians (i.e., Brazil) should metaphorically cannibalize their foreign enemies, appropriating their force without being dominated by them." Rocha believed cannibalism represented the violence that was necessary to enact social change and depict it onscreen: "From Cinema Novo it should be learned that an aesthetic of violence, before being primitive, is revolutionary. It is the initial moment when the colonizer becomes aware of the colonized. Only when confronted with violence does the colonizer understand, through horror, the strength of the culture he exploits." With Brazil modernizing in the global economy, third-phase Cinema Novo also became more polished and professional, producing "films in which the rich cultural texture of Brazil has been pushed to the limit and exploited for its own aesthetic ends rather than for its appropriateness as political metaphor." Brazilian consumers and filmmakers began to feel that Cinema Novo was contradicting the ideals of its first phase. This perception led to the birth of Cinema Marginal, also called Udigrudi cinema or Novo Cinema Novo, which used 'dirty screen' and 'garbage' aesthetics to return Cinema Novo to its original focus on marginalized characters and social problems, all while appropriating elements of b-movies and pornochanchadas to reach a wider, working-class audience. But third-phase Cinema Novo also had supporters. Cinema Novo filmmaker Joaquim Pedro de Andrade, who was active during the first phase and produced one of the premiere films of the third phase, Macunaíma, was pleased Cinema Novo had made itself more relatable to Brazilian citizens, despite accusations it was selling out to do so. Referencing Leon Hirszman's Garota de