(principally in Rio, Bahia, and São Paulo) have taken their cameras and gone out into the streets, the country, and the beaches in search of the Brazilian people, the peasant, the worker, the fisherman, the slum dweller." Most film historians agree that Glauber Rocha, "one of the most well-known and prolific filmmakers to emerge in the late 1950s in Brazil", was the most powerful advocate for Cinema Novo in its first phase. Dixon and Foster contend that Rocha helped initiate the movement because he wanted to make films that educated the public about social equality, art and intellectualism, which Brazilian cinema at the time did not do. Rocha summarized these goals by claiming his films used "aesthetics of hunger" to address class and racial unrest. In 1964, Rocha released Deus e o Diabo na Terra do Sol ("Black God, White Devil"), which he wrote and directed to “suggest that only violence will help those who are sorely oppressed". With Rocha at the helm during its first phase, Cinema Novo was praised by critics around the world. Second phase (1964–1968) In 1964, popular Democratic President João Goulart was removed from office by military coup, turning Brazil into a military-run autocracy under new President Humberto de Alencar Castelo Branco. Brazilians consequently lost faith in the ideals of Cinema Novo, as the movement had promised to protect civilian rights yet had failed to uphold democracy. Cinema Novo filmmaker Joaquim Pedro de Andrade blamed fellow directors, who he claimed had lost touch with Brazilians while appealing to critics: "For a film to be a truly political instrument," de Andrade said, "it must first communicate with its public". Second-phase Cinema Novo thus sought to both deflect criticism and to address the "anguish" and "perplexity" that Brazilians felt after Goulart was ousted. It did this by producing films that were "analyses of failure--of populism, of developmentalism, and of leftist intellectuals" to protect Brazilian democracy. At this time, filmmakers also started trying to make Cinema Novo more profitable. Stephanie Dennison and Lisa Shaw state that second-phase directors "recognized the irony in making so-called 'popular' films, to be viewed only by university students and art-house aficionados. As a result, some auteurs began to move away from the so-called 'aesthetics of hunger' toward a filmmaking style and themes designed to attract the interest of the cinema-going public at large." As a result, the first Cinema Novo film to be