The sociabilities constituted by the meetings promoted by the film club, the long conversations dealing about film criticism or reference books, the living in newspapers and magazines editorial offices favored the experience of common defining moments, with potential to produce meanings, indelibly printed on their behavior and perceptions about art and life. The coexistence resulted in contact with a number of references and own models of film analysis, that will produce effects in the written production of those who shared this cinephile ritual. “Os Espectadores” dialogued with what was read and discussed in associations with similar characteristics in different regions of the country. A cinematic generation mostly derived from academy, which also was located historically. In a moment that they lived full profusion of Brazilian cinefilia, important subjects such as the existence of a national cinema, as well as concerns about a look education, editing and Italian neorealism, also aroused the interest of North fime club members. That the Belém of 1950s, suffered the ills by not having a structure that would allow greater autonomy from both the Film Library of São Paulo Museum of Modern Art, as the commercial exhibition circuit. Members of the first film club in Belém were also linked by sharing of a meanings network, which was already done before the pictures view, creating a look that received interference from a series of symbols and meanings, as well as a particular notion of art and aesthetics. Way to see which will also be influenced by elements of the cinema characteristic meanings, heading a dynamic flow in that cinema influences in writing, as well as the film looking is influenced by intellectual formation. The literature approaches , present in the first film club in Belém, lead to reflections on how its members mediated relations between cinema and the literary construction.
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