Academic literature on the topic 'Photography – Brazil – History'
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Journal articles on the topic "Photography – Brazil – History"
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Levine, Robert M., Gilberto Ferrez, and Stella de sa Rego. "Photography in Brazil 1840-1900." Hispanic American Historical Review 71, no. 4 (November 1991): 898. http://dx.doi.org/10.2307/2515800.
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Levine, Robert M. "Photography in Brazil 1840-1900." Hispanic American Historical Review 71, no. 4 (November 1, 1991): 898–99. http://dx.doi.org/10.1215/00182168-71.4.898a.
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Alencar, Larissa Barbosa, and Gustavo Cunha de Araújo. "A FOTOGRAFIA COMO FONTE DE PESQUISA PARA HISTÓRIA E MEMÓRIA DE UM MUNICÍPIO TOCANTINENSE." Revista Uningá Review 36, no. 1 (December 18, 2021): eURJ4110. http://dx.doi.org/10.46311/2178-2571.36.eurj4110.
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Research on photography with a focus on a city in the state of Tocantins is a way to try to tell of the history of this city, since there is little information or files that reveal part of this history. This research has as its main objective to identify, through photographic records, the history and memory of the city of Tocantinopolis - TO, Brazil. Of a qualitative approach and basic nature, the data collection instruments used were visual sources (photographs) regarding Tocantinopolis - TO, in addition to bibliographic research. Among some results found, the analyzed images revealed part of the history and the memory of this city. The information generated in the analyses helped us to identify visual elements present in the photographs that allowed us to expand the reading and interpretation capacity, which was fundamental to understand the stories, memories and the context that accompany (or accompanied) these images registered in this research.
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B. de Barros, Luiz Felipe. "A história por trás da foto." Aviation in Focus - Journal of Aeronautical Sciences 7, no. 1 (December 31, 2016): 13. http://dx.doi.org/10.15448/2179-703x.2016.1.24129.
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Este artigo, intitulado “A história por trás da foto”, tem por objetivo resgatar uma passagem singular e esquecida da aviação comercial brasileira, especialmente nas décadas de 1930 e 1940. Utiliza-se o método monográfico e bibliográfico para, a partir da análise detalhada de uma fotografia sem qualquer relevância, descortinar e revelar a forte influência germânica na América do Sul. Mostra-se os reflexos da cultura germânica, principalmente no modal aéreo, bem como as particularidades das relações Brasil-Alemanha-Brasil após a Primeira Guerra Mundial.********************************************************************A story behind the photoAbstract: This article, entitled “The story behind the photo”, aims to examine a unique and forgotten period from Brazilian commercial aviation, principally from the decades of the 1930s and 1940s. The monographic and bibliographic method attempts, from a detailed analysis of the photograph, to discover and reveal the strong Germanic influence in South America. It shows the effects of the German culture, especially on air transportation, as well as the characteristics of the Brazil-Germany-Brazil relationship after the First World War.Keywords: History of Aviation; Photography; Aircraft; Porto Alegre
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Stapff, Andrés. "Fotografía de Andrés Stapff." Dixit, no. 17 (September 18, 2012): 49–54. http://dx.doi.org/10.22235/d.v0i17.357.
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Andrés Stapff (Montevideo, 1972) es fotógrafo de la agencia de noticias Reuters en Uruguay desde 1999. Desde allí ha participado en varias coberturas de una amplia variedad de acontecimientos en diferentes situaciones y países tales como la crisis política y económica en Argentina durante el 2001 y 2002, la Copa América en Colombia, Perú y Argentina, los Juegos Panamericanos de Brasil, cumbres de las Américas y del G20, mundiales de fútbol y otros deportes, además de varios procesos eleccionarios en Uruguay y el resto de América Latina. Sus fotos han sido publicadas en medios nacionales y del exterior tales como The New York Times , Washington Post , El País de Madrid, The Guardian , La Nación , Clarín , Folha de São Paulo , revista National Geographic y otros. La agencia Reuters ha publicado sus fotos en los volúmenes 1, 2 y 3 de su colección The art of seeing, the best of Reuters photography . Andres Stapff (Montevideo, 1972) is a photographer from the Reuters news agency in Uruguay since 1999. As such, he has covered a wide range of events in different situations and countries like the economic and political crisis in Argentina in 2001 and 2002, the America Cup in Colombia, Peru and Argentina, the Panamerican Games in Brazil, America and G20 summits, soccer world cups and from other sports, besides several elections in Uruguay and the rest of Latin America. His photographs have been published in national and international media, such as The New York Times, Washington Post, El País de Madrid, The Guardian, La Nación, Clarín, Folha de São Paulo, National Geographic and others. The Reuters agency has published his photographs in the first, second and third volume of its collection The art of seeing, the best of Reuters photography.
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Coswosk, Jânderson Albino. "Educational Practices on Ethnic-racial Relations and the English Language Teaching through Image and Literature in an EFL Classroom." International Journal of English and Cultural Studies 3, no. 1 (April 20, 2020): 15. http://dx.doi.org/10.11114/ijecs.v3i1.4800.
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The article analyzes the unfoldings of the teaching project Introducing Literatures in English, held in 2018 at the Federal Institute of Espírito Santo (IFES), based in Alegre-ES, Brazil. The project aimed at promoting the improvement of reading, writing and speaking skills of English as a foreign language (EFL) learners, departing from African Literature in English and photography, so that they had the opportunity to improve their language skills while developing a broader discussion on Africa’s ethnic-cultural and linguistic diversity, building a viewpoint about the African continent less tied to colonialism, slavery, apartheid and victimization.For reading and written analyses, the students took into consideration the photo-book Another Africa (1998), with photographs by Robert Lyons and poems by Chinua Achebe (1930-2013). Based on the poems and photographs brought to light in Another Africa, I analyzed 1) the students’ multimodal reading process, by connecting images generated by poems and photographs and written and oral texts the students produced around them; 2) the students’ reception of the poems, considering Achebe’s constant use of code-switching and 3) the construction of new viewpoints around Africa elaborated by the students, bearing in mind the importance of the role of language, memory and history, oral and literary traditions when it comes to African writers and a new perspective concerning the colonial legacy and its impact on English language.
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Foster, D. W. "Gabara, Esther. Errant Modernism: The Ethos of Photography in Mexico and Brazil. Durham: Duke UP, 2008. 357 pp." Luso-Brazilian Review 47, no. 1 (June 1, 2010): 227–29. http://dx.doi.org/10.1353/lbr.0.0117.
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Krippner, James. "Errant Modernism: The Ethos of Photography in Mexico and Brazil. By Esther Gabara. Durham: Duke University Press, 2008. Pp. xii, 260. Illustrations. Notes. Bibliography. Index. $26.95 paper." Americas 66, no. 3 (January 2010): 416–18. http://dx.doi.org/10.1353/tam.0.0208.
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Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 85. http://dx.doi.org/10.25038/am.v0i19.316.
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This paper presents a criticism of the performance Merci Beaucoup, Blanco! by Michelle Mattiuzzi and the self-reflection on it published in the 32nd Biennial of São Paulo – “Live Uncertainty” (2016) – entitled Written Performance Photography Experiment. To this end, we emphasize the performance’s formal elements alongside aspects of the history of racist practices and theories in Brazil, in addition to the official historiography concerning the black population, which contextualize the feelings of pain and horror impregnating both the artist’s personal experience and her performance.Accordingly, the elements of this performance that can incite feelings of pleasure in the observer such as the resistance of black women and their political representation are analyzed in the field of art and culture. Lastly, to conclude, this paper argues about the possibilities of the performance’s fruition. This argument is based on the artist's text and certain constituent arguments of the feeling of the sublime’s concept, as presented by Edmund Burke, Immanuel Kant and Jean-François Lyotard.Considering an analogy with the aesthetics of the sublime, it is argued that Merci Beaucoup Blanco! gravitates in the atmosphere of horror, pain and shock, recalling/suggesting feelings of racial violence and discrimination still existing in Brazil. This performance of a black woman against racist oppression also constitutes an act of resistance of the artist, capable of awakening feelings of pleasure in their watchers. The public then moves from shock, pain and horror to contentment of the political consciousness of race, gender, and class. Article received: April 23, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019. Original scholarly paperHow to cite this article: Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies 19 (2019): 85-99. doi: 10.25038/am.v0i19.316
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Heeren, Alice. "Affective Rhetorics of Contagion." Latin American and Latinx Visual Culture 2, no. 2 (2020): 47–73. http://dx.doi.org/10.1525/lavc.2020.220005.
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This article focuses on the photographs of Augusto Malta, the official photographer of the city of Rio de Janeiro, made between 1904 and 1929. It departs from the work of Brian Massumi, Sara Ahmed, and Anna Gibbs on affect theory to argue that Malta's images were responsible for supporting a rhetoric of contagion used to justify the violent biopolitical policies of the Brazilian republican government. Furthermore, I assert that this rhetoric depended on the mobilization by Malta of affects widely circulated in the popular media of the period. This study aims to bring affect theory into dialog with the vast body of existing historical, visual, and sociological literature on the so-called Brazilian Belle Époque. This period in the history of Brazil, and especially of Rio de Janeiro, has been amply studied by scholars from diverse disciplines. Nevertheless, engagement with theories of affectivity and the work of Malta, especially in English-speaking scholarship, remains limited. This article speaks to the implication of photography, architecture, and urban planning in medical and biopolitical discourses, contributing to the study of the mechanisms that produce and reproduce myths of progress and the emancipating power of reason in early twentieth-century Latin America. Este artículo se centra en las fotografías de Augusto Malta—el fotógrafo oficial de la ciudad de Río de Janeiro—realizadas entre 1904 y 1929. Toma distancia con respecto al trabajo sobre la teoría del afecto de Brian Massumi, Sara Ahmed y Anna Gibbs para argumentar que las imágenes de Malta brindaron un apoyo efectivo a una retórica de contagio utilizada para justificar las violentas medidas biopolíticas del gobierno republicano de Brasil. Además, afirmo que esta retórica dependía de la movilización por parte de Malta de los afectos ampliamente difundidos en los medios populares de la época. Este estudio tiene como objetivo poner la teoría del afecto en diálogo con el vasto corpus de literatura histórica, visual y sociológica existente sobre la llamada Belle Époque brasileña. Este período en la historia de Brasil, y especialmente de Río de Janeiro, ha sido ampliamente estudiado por académicos de diversas disciplinas. Sin embargo, especialmente en la academia de habla inglesa, hay pocos trabajos que estudien la obra de Malta a la luz de las teorías de la afectividad. Este artículo habla de la implicación de la fotografía, la arquitectura y la planificación urbana en los discursos médicos y biopolíticos, contribuyendo así al estudio de los mecanismos que producen y reproducen mitos del progreso y el poder emancipador de la razón en la América Latina de principios del siglo XX. Este artigo se foca nas fotografias de Augusto Malta, o fotógrafo oficial da cidade do Rio de Janeiro, realizadas entre 1904 e 1908. Partindo do trabalho de Sara Ahmed e Anna Gibbs sobre a teoria do afeto, argumenta-se que as imagens de Malta serviram para apoiar uma retórica do contágio usada para justificar políticas biopolíticas violentas do governo brasileiro republicano. Ademais, eu afirmo que esta retórica dependeu da mobilização por Malta de afetos largamente circulados na mídia popular daquele período. O objetivo desse estudo é colocar a teoria do afeto em diálogo com o vasto corpo de literatura histórica, visual e sociológica existente sobre a dita Belle Époque brasileira. Esse período da história do Brasil, e especialmente do Rio de Janeiro, tem sido amplamente estudado por acadêmicos de diversas disciplinas. No entanto, o envolvimento com as teorias da afetividade e o trabalho de Malta, especialmente na produção acadêmica em inglês, permanece limitado. Este artigo endereça a implicação da fotografia, da arquitetura e do planejamento urbano em discursos médicos e biopoliticos, contribuindo para o estudo de mecanismos que produzem e reproduzem mitos de progresso e do poder emancipatório da razão na América Latina do início do século XX.
Dissertations / Theses on the topic "Photography – Brazil – History"
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Kutesko, Elizabeth. "Fashioning Brazil : globalization and the representation of Brazilian dress in National Geographic." Thesis, Courtauld Institute of Art (University of London), 2016. http://ualresearchonline.arts.ac.uk/12111/.
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As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. Photographs since National Geographic’s centenary edition in September 1988 have traced the beginnings of a different view of encounters within the United States-Brazil contact zone, driven by the forces of globalisation, which have resisted the processes of objectification, appropriation and stereotyping frequently associated with the rectangular yellow border. This is because they have provided evidence of a fluid and various population, which has selected and experimented with preferred elements of American and European dress, and used it to fashion their own, distinctly Brazilian identities. This thesis will examine both the visual and textual strategies that National Geographic and National Geographic Brasil (the Portuguese-language version of the magazine, established in Sao Paulo in May 2000) have used to fashion Brazil, but also the extent to which Brazilian subjects can be seen to have self-fashioned, through the strategic appropriation of clothing and ideas derived from an existing and dominant global culture. It will approach dress not simply as cloth but as a system of communication, whose many meanings are not fixed but continually informed and to an extent, even performed, by its visual, material, and textual representation. This thesis employs a multidisciplinary mode of analysis that draws on five Brazilian scholars, each of whom have used dress and fashion metaphors in their writings, which have encompassed poetry, film studies, poststructuralist theory, literary criticism and anthropology.
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Dobranszky, Diana de Abreu. "Referente e imagem na fotografia brasileira em fins do seculo XX." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285045.
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Orientador: Fernando Cury de TaccaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Através da câmara obscura, a fotografia herdou características vindas da pintura quanto a representação tanto em termos estéticos como em relação aos conceitos de realismo. Ao mesmo tempo, seu mecanismo de funcionamento gerou discussões ao longo do tempo sobre sua verosimilhança e sobre sua peculiar ligação com o visível. O que destaca-se na imagem fotográfica é a presença do referente necessariamente real, como coloca Roland Barthes. Essa sua condição de ligação com o real evidencia sua natureza diferenciada com relação as demais formas artísticas e, com isso, oferece-lhe novos recursos plásticos que influenciaram a arte principalmente no século XX, da mesma forma como foi influenciada por ela. Essa pesquisa tem como foco principal o referente fotográfico que oferece-nos questões e discussões quanto a natureza da imagem fotográfica; que nos orienta no estudo de diferentes momentos da história da fotografia e que, por causa do experimentalismo na fotografia autoral, apresenta-se de inúmeras formas - o que aqui será ilustrado nas obras criadas em fins do século XX por seis fotógrafos brasileiros
Abstract: Not informed.
Mestrado
Mestre em Multimeios
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Grativol, Kariny. "Viajante incansável: trajetória e obra fotográfica de Theodor Preising." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-18032012-130233/.
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Esta dissertação trata da trajetória e obra fotográfica de Theodor Preising no Brasil. O fotógrafo percorreu área considerável do território nacional tomando vistas para a produção de cartões-postais e registrando viagens de sócios do Touring Clube do Brasil. Trabalhou ainda para a revista S.Paulo, e integrou os quadros funcionais do Departamento de Imprensa e Propaganda de São Paulo, contribuindo com a elaboração de uma imagem do país nas publicações oficiais direcionadas para leitura no Brasil e no exterior. Entre essas publicações estavam: o jornal Brasil Novo, a revista Travel in Brazil, as reportagens da Agência Nacional e dois folhetos turísticos. Trata-se de um estudo que busca demonstrar a versatilidade de Preising e a extensão de sua obra. A análise do trabalho de Preising, entre 1923 e 1948, permite observamos a transformação de sua linguagem, que se sobrepõe e exemplifica a metamorfose da sociedade.This dissertation discusses Theodor Preisings trajectory and photographic work at Brasil. The photographer has covered considerable area of national territory taking views to postcards and registering trips of Touring Clube do Brasil affiliations. He has still worked to S.Paulo magazine, and joined the staffs of Departamento de Imprensa e Propaganda de São Paulo, contributing to the development of the countrys image in the official publications in Brazil and overseas. Between these publications was: the Brasil Novo newspaper, the Travel in Brazil magazine, reports of the Agência Nacional and two touristic papers. This work proposes to demonstrate Preisings versatility and the extent of his work. By analyzing Preisings work, since 1923 to 1948, we can understand the transformation of his technique, witch exemplifies the metamorphosis of the society.
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Yamamoto, Patrícia Hitomi. "Circuito em transformação: O Estado de São Paulo e a cultura fotográfica paulistana nos anos 1970." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-29112018-121419/.
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Esta dissertação visa investigar o circuito fotográfico paulistano da década de 1970 a partir das matérias publicadas no jornal O Estado de S. Paulo. Esta fonte mostrou-se particularmente propícia para o estudo do intenso processo de transformação pelo qual passou a fotografia no período. O objetivo não é reconstituir os eventos passados descritos nas matérias, mas antes, defender a hipótese de que é possível identificar uma cultura fotográfica paulistana característica da década de 1970 que viria a ter importantes desdobramentos nos anos seguintes. Os textos analisados foram reunidos em quatro núcleos temáticos representativos dos discursos a respeito da fotografia proferidos pelos agentes que atuavam no jornal, a saber: a história da fotografia no Brasil, a identidade da fotografia brasileira, o estabelecimento do mercado fotográfico e a constituição de uma crítica especializada. Tais textos são examinados em sua natureza discursiva, levando-se em conta não apenas os seus conteúdos informativos, mas a forma como foram escritos e a autoridade que detinham os seus autores. Para tanto são considerados os consensos, as tensões e as disputas materializadas nos discursos veiculados nas páginas de um influente veículo da grande imprensa e o modo como chegavam ao público não especializado. O resultado dessa pesquisa contribui para o entendimento de um período em que a fotografia expandiu-se de forma até então inédita no Brasil e que constitui um passado recente ainda pouco estudado.This dissertation aims to investigate the São Paulo photographic circuit of the 1970s from the articles published in the newspaper O Estado de S. Paulo. This source proved to be particularly conducive to study of the intense transformation process through which the photograph passed in the period. The objective is not to reconstitute past events described in the stories, but rather to defend the hypothesis that it is possible to identify a photographic culture typical of the 1970s that would have important developments in the following years. The texts analyzed were grouped in four thematic nuclei, representative of the speeches about photography by the agents who worked in the newspaper, namely: the history of photography in Brazil, the identity of Brazilian photography, the establishment of the photographic market and the constitution of a specialized criticism. Such texts are examined in their discursive nature, taking into account not only their informative contents but the way they were written and the authority held by their authors. For this, the consensuses, tensions and disputes materialized in the speeches on the pages of an influential vehicle of the great press and the way in which they were received by the non-specialized public are taken into account. The result of this research contributes to the understanding of a period in which photography has expanded in a way previously unpublished in Brazil and that constitutes a recent past still little investigated.
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Costa, Eduardo Augusto. "'Brazil builds' e a construção de um moderno, na arquitetura." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281584.
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Orientador: Iara Lis Franco SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta dissertação de mestrado trata da compreensão de uma das mais importantes obras publicadas quanto a uma arquitetura moderna brasileira. Publicação realizada pelo MoMA/NY, em 1943, intitulada Brazil Builds e que, ainda, instaura uma matriz historiográfica para a arquitetura brasileira, vinculando a arquitetura tradicional com as realizações dos arquitetos modernos. Trata-se do dimensionamento da cultura nacional, na primeira metade do século XX, especificamente em relação à política cultural levada a cabo pelo ministro Gustavo Capanema, durante a República Nova e sua decorrência no campo da arquitetura. Finalmente, discute-se a construção de uma cultura visual da arquitetura a partir da uma série de documentos visuais realizados por diversos fotógrafos, dentre os quais se destaca G. E. Kidder Smith. Cultura visual que se pretendia como ordem da cultura nacional, neste caso, ordem de uma cultura arquitetônica moderna brasileira
Abstract: This Master's dissertation aims to understand one of the most important works published about a Brazilian modern architecture. Publication accomplished by the MoMA/NY, in 1943, entitled Brazil Builds it was responsible for the foundation of a historiographic matrix for the Brazilian architecture, vinculating the traditional architecture with the modern architects. It is also about the dimensioning of the national culture in the first half of the 20th century, specifically related to the national cultural politics taken by the minister Gustavo Capanema, during the New Republic and its influence to the architecture. Finally, it talks about the construction of a visual culture to the architecture by a series of visual documents done by photographers, amongst who G. E. Kidder Smith stands out. Visual culture that was intended as an order of the national culture, in this case, order of a Brazilian modern architectural culture
Mestrado
Politica, Memoria e Cidade
Mestre em História
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Labo, Nora. "Competing constructions of nature in early photographs of vegetation : negotiation, dissonance, subversion." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/12807.
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While the role of photography in enforcing hegemonic ideologies has been amply studied, this thesis addresses the under-researched topic of how photography undermined dominant narratives in specific historical circumstances. I argue that, in the later part of the long nineteenth century, photographs were used to represent the natural world in contexts where their functions were uncertain and their capacities not clearly defined, and that these hesitations allowed for the expression of resistances to dominant social attitudes towards nature. I analyse how these divergences were articulated through three independent case studies, each addressing a corpus of photographs which has been marginalised in scholarly discourse. The case studies all concern photographs of vegetation. The first one discusses photographs produced around Fontainebleau during the Second French Empire, commonly understood as auxiliary materials for Barbizon painters, and argues that they were in fact autonomous representations, reflecting marginal modes of experiencing nature which resisted its prevailing construction as spectacle. The second case study examines a photographic series depicting Amazonian vegetation, published between 1900 and 1906, and shows how, in attempting to satisfy conflicting ideological demands, these photographs undermined the hierarchies enforced upon the natural world by colonial science. The third case study analyses photographs from an early twentieth-century environmentalist treatise, and demonstrates how, while the author's discourse seemingly complied with conventional attitudes towards nature, the photographs instituted an ethical stance opposed to early conservation's aesthetic focus and anthropocentrism. Throughout the case studies, I argue that the photographs were consubstantial to the emergence of these resistances; that dissenting representations stemmed from a tension between their producers' lived experience and the ideological frameworks which informed each context; and that this process engendered remarkable formal innovations, which are not usually associated to non-artistic images. I contend that radical renewals of visual expression occur in all representational contexts, as image producers adapt their tools or forge new ones according to circumstances, and that more attention must be paid to such visual innovations outside the field of artistic production.
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Ottoni, Ana. "A ruína brutalista. Sobre a fotografia e a nostalgia na contemporaneidade." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-12122017-140505/.
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As ruínas da arquitetura brutalista paulista e o aspecto simbólico de sua imagem são o tema desta pesquisa. Ela se desenvolve a partir de dois ensaios complementares: um fotográfico e outro textual. O primeiro, realizado nos últimos três anos, enfoca prédios modernistas paulistas em diferentes estados de conservação: arruinação após algum período de utilização, interrupção e abandono antes mesmo do término das obras e - no caso específico do prédio da FAU-USP -, o processo de restauração. O ensaio textual tem caráter analítico e procura compreender o imagético dentro do contexto da fotografia contemporânea, ao traçar as relações construídas entre fotografia e arquitetura e fotografia e ruína. Essas intersecções são observadas em momentos particulares do Modernismo até a Contemporaneidade, passando pela crítica pós-moderna nos anos 1960 e 70. Finalizo com o entrelaçamento dessas questões no âmbito brasileiro. A motivação inicial desse projeto é pessoal, pois o primeiro edifício fotografado é uma casa brutalista em que vivi por 17 anos, projetada (e fotografada) pelo arquiteto David Ottoni, meu pai. Os outros todos são, com apenas uma exceção, edifícios públicos. Ao final conclui-se que as ruínas modernistas brasileiras, além do esgotamento do pensamento moderno em si, com frequência também traduzem falência político-institucional e descaso público.The ruins of brutalist architecture in São Paulo and the symbolic aspect of its image are the theme of this research, which is developed on the basis of two complementary essays: one photographic and another textual. The first one, carried out in the last three years, focuses modernist buildings with different levels of conservation in São Paulo: deterioration after some time of use, interruption, abandon even before the completion of works, and - in the specific case of the FAU-USP building -, the restoration process. The textual essay has an analytical character and seeks to understand the imagetic aspect in the context of contemporary photography by outlining the relationships established between photography and architecture, and photography and ruin. These intersections are observed in certain moments from Modernism to Contemporaneity, passing by the postmodern critique in the 1960s and 1970s. I finish entwining these issues within the Brazilian ambit. The initial motivation for this project is personal, because the first building photographed is a brutalist house where I lived for 17 years and which was designed (and photographed) by architect David Ottoni, my father. The others, except for one, are public buildings. The final conclusion is that Brazilian modernist ruins, in addition to the sheer exhaustion of modern thought, often translate into political-institutional failure and public neglect as well.
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Dienstmann, Gabriel. "A luta pela democracia em foco : fotojornalismo e movimentos sociais no Rio Grande do Sul (1977-1979)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/156346.
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A segunda metade da década de 1970 foi marcada pelo início da política de abertura da ditadura civil-militar brasileira e por um fortalecimento dos setores de oposição ao regime. Nesse período, os movimentos sociais retomaram as ruas como espaço de manifestação e de luta pela democracia no país após mais de dez anos de ditadura. O objetivo desta pesquisa é compreender a importância desse processo para o contexto de transição democrática no Brasil e a forma como a imprensa gaúcha participou nessa conjuntura por meio da construção de representações sobre esses acontecimentos através do fotojornalismo. Tendo em vista essas questões, no presente trabalho proponho-me a analisar as fotografias produzidas e veiculadas pelos jornais Zero Hora e Folha da Manhã, buscando analisar as representações visuais acerca da atuação do movimento estudantil, pela anistia e sindical na conjuntura do final dos anos 1970, e compreender o processo de construção dessas representações e as disputas em torno delas. Para dar conta destes objetivos, serão comparadas as narrativas fotojornalísticas que tais veículos de imprensa elaboraram sobre os acontecimentos em questão, analisando o contexto da cultura visual e do campo jornalístico da época, as práticas e relações sociais que envolviam o processo de produção, transmissão e consumo das imagens fotojornalísticas.The end of the 1970s was marked by the beginning of the „opening‟ policy of the Brazilian civil-military dictatorship and by a strengthening of the opposition sectors to the regime. During this period, social movements retrieved the streets as a riot space to fight for the democratization of the country after more than ten years of dictatorship. The objective of this research is to understand the importance of this process for the democratic transition context in Brazil and how the press participated in this the construction of representations about these events through photojournalism. Given these issues, in this work I propose to analyze the photographs produced by the newspapers Zero Hora and Folha da Manhã, trying to understand the patterns of visual representation regarding the role of social movements in the fight for democracy, analyzing the process of construction of visual representations and the disputes that involves them in the struggles for symbolic power. To accomplish these objectives, the photojournalistic narratives about the riots in issue constructed by the newspapers will be analyzed in its articulations with the historical context of Brazilian redemocratization and rise of social movements, the context of visual culture and the journalistic field of the period, the practices and social relations involving the process of producing, transmission and consumption of photojournalistic images.
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Carvalho, Fontes Larissa Yelena. "Anthropologie d'un musée silencieux : la Collection Persévérance et les enjeux de mémoire autour du "xangô alagoano" (Maceió - Brésil)." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2071.
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La présente thèse a comme objet central la Collection Persévérance, un ensemble d’objets qui ont été volés des maisons de culte afro-brésilien à Maceió, capitale de l’État d’Alagoas, au Nord-est du Brésil. Le pillage de ces objets s’est produit dans un épisode de répression politique-religieuse survenu en 1912 et connu comme Quebra de Xangô. Cette Collection est abritée par le Musée de l’Institut Historique et Géographique d’Alagoas et depuis son pillage, elle n’a pas été objet d’études scientifiques. Ainsi, cette recherche a essayé de combler les lacunes existantes sur le sujet, en traçant son parcours jusqu’à présent et en démontrant les grandes transformations vécues par le culte du xangô alagoano, à la fois au niveau liturgique et rituel. Pour la production de l’inventaire de la Collection Persévérance, un travail d’investigation a été mené pour essayer de trouver les usages originaux et référencer dûment les pièces. Cette investigation a été réalisée avec la participation de la communauté religieuse afro-brésilienne, en privilégiant leur savoir traditionnel, leur mythologie et leur système cosmologique pour découvrir et construire la biographie de ces objets. De cette manière, le xangô alagoano est ici présenté, en retraçant ses particularités, fruit de mes dix ans d’expérience de terrainThe central object of this thesis is the “Persévérance” Collection, a group of pieces that were stolen from Afro-Brazilian houses of worship in Maceió, capital of the state of Alagoas, in the northeast of Brazil. The pillaging of these objects occurred in an episode of political-religious repression in 1912, known as Quebra de Xangô. This Collection is exposed by the Museum of the Historical and Geographical Institute of Alagoas and since its pillage it has not been subject of any scientific studies. In this way, this research has tried to fill the existing gaps on the subject, tracing its path so far and demonstrating the great transformations experienced by the worship of xangô alagoano, both at the liturgical and ritual levels. For the production of those objects inventory an investigation was carried out to try to find the original uses and toproperly reference the pieces. This investigation was produced with the participation of the Afro-Brazilian religious community, focusing on their traditional knowledge, mythology and cosmological system to discover and construct the biography of those objects. Therefore, the xangô alagoano is presented here, tracing its peculiarities, fruit of my ten years of field experience
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Santos, Jessica Leme. "OBRA SIMBÓLICA DO BRASIL NOVO: REPRESENTAÇÕES FOTOGRÁFICAS DE GETÚLIO VARGAS NA “TERRA DOS PINHEIRAIS” EM 1944." UNIVERSIDADE ESTADUAL DE PONTA GROSSA, 2017. http://tede2.uepg.br/jspui/handle/prefix/395.
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Previous issue date: 2017-02-24The New State, that includes the years of (1937-1945), was known as the longest period of influence of varguist political propaganda. With the creation of DIP – Departamento de Imprensa e Propaganda (Department of Press and Propaganda), the divulgation and impression of Getúlio Vargas image has been systemized. About this, this research has as objective to analyze the photographical images of President Getúlio Vargas during his visit in Paraná state in 1944. These photographical images are inserted in a Commemorative Album of Visit of President Vargas, 1944, a material used as politic propaganda. Also, it sought to analyze the discourses during the publication, which has approached various themes as the 1930 Revolution, Paranism, Paraná industrialization in the 30’s and 40’s, as well government aspects, for example, immigration/reoccupation of Paraná’s north, the eugenic theory, etc. To analyze the images, it applies the using of iconography/iconology, intending to dismount the photographic sign. To discuss about Vargas representation, it uses the representation concepts of Chartier, where intends to understand the mechanisms used to construct the president’s image.
O Estado Novo que compreende os anos de (1937-1945), ficou marcado como o período de maior influência da propaganda política varguista. Com a criação do DIP- Departamento de Imprensa e Propaganda sistematizou-se a divulgação e impressão da imagem de Getúlio Vargas. Diante disso essa pesquisa teve como objetivo analisar as imagens fotográficas do presidente Getúlio Vargas, durante a visita do mesmo ao estado do Paraná, no ano de 1944. Essas imagens fotográficas estão inseridas num Álbum Comemorativo da Visita do Presidente Vargas ao Paraná, 1944, material esse usado como propaganda política. Buscou-se analisar também os discursos inseridos no decorrer da publicação, os quais abordam diversos temas como, a Revolução de 1930, Paranismo, a industrialização do Paraná nos anos 30/40, como também aspectos da política governamental da época, por exemplo, imigração/reocupação do norte paranaense, a teoria eugênica entre outras. Para a análise das imagens aplica-se o uso da iconografia/iconologia, desmontando o signo fotográfico. Para a discussão acerca da representação do presidente Vargas, utiliza-se do conceito de representação de Chartier, onde quer se compreender os mecanismos usados para a construção da imagem do governante.
Books on the topic "Photography – Brazil – History"
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Ferrez, Gilberto. Photography in Brazil, 1840-1900. Albuquerque: University of New Mexico Press, 1990.
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Parente, José Inacio. A estereoscopia no Brasil =: Stereoscopy in Brazil. [Rio de Janeiro, Brazil]: Sextante Artes, 1999.
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Fotografia, Sociedade Fluminense de, and Fotoclubismo, eds. Fotoclubismo no Brazil: O legado da Sociedade Fluminense de Fotografia. Rio de Janeiro: Senac Nacional, 2012.
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1915-1989, Naylor Genevieve, ed. The Brazilian photographs of Genevieve Naylor, 1940-1943. Durham, NC: Duke University Press, 1998.
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Ferrez, Marc. A Marinha =: The Navy : (1880-1910). RJ [i.e Rio de Janeiro] Brasil: Verlome, 1986.
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Banco do Brasil. Centro Cultural and FotoRio (2005 : Rio de Janeiro, Brazil), eds. Fotografia: Suporte da memória, instrumento da fantasia : [exposição] de 18 abril a 26 de junho 2005, Centro Cultural Banco do Brasil, Rio de Janeiro. Rio de Janeiro: Centro Cultural Banco do Brasil, 2005.
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Cansanção, Elza. Eu estava lá!: A epopéia da Força Expedicionária Brasileira através da fotografia = I was there! : the epic of the Brazilian Expeditionary Force through the picture = Io stavo la! : il epico della Forza Expeditionary (i.e. Expedicionaria) Brasiliana attraverso il ritratto. Rio de Janeiro: Editora Agora da Ilha, 2001.
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Azevedo, Orlando. Fitas e Bandeiras Venske. Curitiba, Paraná: Secretaria de Estado da Cultura, 1988.
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Edinger, Claudio. Madness. Stockport: Dewi Lewis, 1997.
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Edinger, Claudio. Madness. Stockport: Dewi Lewis Pub., 1997.
Find full textBook chapters on the topic "Photography – Brazil – History"
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Evangelista, Julia, and William A. Fulford. "Colonial Values and Asylum Care in Brazil: Reclaiming the Streets Through Carnival in Rio de Janeiro." In International Perspectives in Values-Based Mental Health Practice, 155–61. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47852-0_18.
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AbstractThis chapter shows how carnival has been used to counter the impact of Brazil’s colonial history on its asylums and perceptions of madness. Colonisation of Brazil by Portugal in the nineteenth century led to a process of Europeanisation that was associated with dismissal of non-European customs and values as “mad” and sequestration of the poor from the streets into asylums. Bringing together the work of the two authors, the chapter describes through a case study how a carnival project, Loucura Suburbana (Suburban Madness), in which patients in both long- and short-term asylum care play leading roles, has enabled them to “reclaim the streets,” and re-establish their right to the city as valid producers of culture on their own terms. In the process, entrenched stigmas associated with having a history of mental illness in a local community are challenged, and sense of identity and self-confidence can be rebuilt, thus contributing to long-term improvements in mental well-being. Further illustrative materials are available including photographs and video clips.
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Mirzoeff, Nicholas. "The visual commons: counter-power in photography from slavery to Occupy Wall Street." In Image Operations. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781526107213.003.0016.
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This chapter explores the formation and dissemination of what the author has called the ‘visual commons’ in photography. The visual commons can be explored through photography because photography has become the medium of the commons and it is today perhaps the first universal medium. Several key moments in this history are explored, beginning with the first use of the term ‘photography’ in the Americas by Hercule Florence in Brazil in 1832. Florence overwrote the existing visual commons with photography’s scene of representation. Soon after British Chartists were photographed on Kennington Common, London, in 1848, the first such image of mass political action emerged, reclaiming the visual commons. The chapter then concentrates on the visual commons after slavery in North America, culminating in the 1968 encampment known as Resurrection City in Washington D.C. as photographed by occupier Jill Freedman. A final section notes how this legacy was important to the Occupy Wall Street movement.
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Conde, Maite. "Picturing the Tropics." In Foundational Films, 131–55. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290983.003.0007.
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This chapter maps out the concerns and aims underlying what was called the Rondon Commission (1909–1930), an expedition that involved building telegraph lines and roads connecting Brazil’s vast interior with its coast. The chapter details the importance of visual technology, photography and film in the commission’s endeavors. It locates this importance within the broader international climate of the use of cinema and visual culture in anthropology, looking at the use of film in museums of natural history, scientific institutions, and popular sites geared toward projecting what Alison Griffiths calls “wondrous difference,” such as fairs and circuses. It also explores the difference between film and photography in order to elucidate how and why cinema was key to the task of unifying and centralizing the Republican nation state.