Images in dispute: photography and politics in Brazil during World War II

In 1939, at the very beginning of the Second World War, Brazil was ruled by Getulio Vargas government under the “Estado Novo” (New State), whose non alignment foreign policy put images in dispute. The ideological conflict between democracy and fascism was expressed in photographs that also captured...

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Autores principales: Mauad , Ana María, Lissovsky, Mauricio
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Humanidades y Artes, UNR 2024
Acceso en línea:https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/434
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Anuario de la Escuela de Historia de Universidad Nacional de Rosario
id I15-R230-article-434
record_format ojs
spelling I15-R230-article-4342024-12-23T19:19:54Z Images in dispute: photography and politics in Brazil during World War II Imágenes en disputa: fotografía y política en Brasil durante la Segunda Guerra Mundial Mauad , Ana María Lissovsky, Mauricio In 1939, at the very beginning of the Second World War, Brazil was ruled by Getulio Vargas government under the “Estado Novo” (New State), whose non alignment foreign policy put images in dispute. The ideological conflict between democracy and fascism was expressed in photographs that also captured social and cultural transformations of that time, profiling divergent visions about what should be Brazil as a country in the scenario of the Western hemisphere. This presentation analyses two sides of this conflict period through images: at one side there were  the white, male and ordered country depicted in the photographs from Ministry of Education and Health (MES), produced  by German photographers refugees hired by the government to produce the monumental propaganda album called “Obra Getuliana” (Getulian Work); by the other side, a gainful, mystic and cheerfully messy country photographed by US press photographers, such as Life magazine correspondents and a few hired by the US Department, among them, Genevieve Naylor.   Assigned by the Office of Inter-American Affairs, her mission was to picture Brazil as a good neighbor and to persuade the American audience that Brazilians in their daily life where closer to the liberal “American way of life” rather than the rigid fascist discipline. En 1939, tras el inicio de la Segunda Guerra Mundial, la política de no concordancia adoptada por el gobierno Vargas, bajo el Estado Nuevo, puso las imágenes en la disputa. El conflicto ideológico entre democracia y fascismo se demostró en fotografías que también capturaron las transformaciones sociales y culturales de la época, con nuevas percepciones discordantes sobre lo que debería ser Brasil como país en el escenario del hemisferio occidental. El artículo analiza dos lados de ese período de conflicto por medio de las imágenes: de un lado, el país blanco, masculino y ordenado, demostrado en las fotografías del Ministerio de Educación y Salud (MES), producidas por fotógrafos alemanes refugiados contratados por el gobierno para producir el monumental álbum de propaganda que se llamaba Obra Getuliana; de otro, un país lleno de vida, místico, sexualizado y carnavalizado, fotografiado por la prensa estadounidense, como los corresponsales de la revista Life y algunos contratados por el Departamento de los Estados Unidos, entre ellos, Genevieve Naylor. Designada por el Office of Inter-American Affairs, su misión era retratar Brasil como un buen vecino y persuadir al público estadounidense de que los brasileños, en su día a día, estaban mucho más cercanos del liberal "american way of life" que de la rígida disciplina fascista. Facultad de Humanidades y Artes, UNR 2024-12-23 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion text/html application/pdf application/epub+zip https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/434 10.35305/aeh.vi41.434 Anuario de la Escuela de Historia; Núm. 41 (2024): Pensar las imágenes: los lazos entre fotografía, historia y política 1853-8835 0327-215X spa https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/434/577 https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/434/574 https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/434/575 http://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Rosario
institution_str I-15
repository_str R-230
container_title_str Anuario de la Escuela de Historia
language Español
format Artículo revista
author Mauad , Ana María
Lissovsky, Mauricio
spellingShingle Mauad , Ana María
Lissovsky, Mauricio
Images in dispute: photography and politics in Brazil during World War II
author_facet Mauad , Ana María
Lissovsky, Mauricio
author_sort Mauad , Ana María
title Images in dispute: photography and politics in Brazil during World War II
title_short Images in dispute: photography and politics in Brazil during World War II
title_full Images in dispute: photography and politics in Brazil during World War II
title_fullStr Images in dispute: photography and politics in Brazil during World War II
title_full_unstemmed Images in dispute: photography and politics in Brazil during World War II
title_sort images in dispute: photography and politics in brazil during world war ii
description In 1939, at the very beginning of the Second World War, Brazil was ruled by Getulio Vargas government under the “Estado Novo” (New State), whose non alignment foreign policy put images in dispute. The ideological conflict between democracy and fascism was expressed in photographs that also captured social and cultural transformations of that time, profiling divergent visions about what should be Brazil as a country in the scenario of the Western hemisphere. This presentation analyses two sides of this conflict period through images: at one side there were  the white, male and ordered country depicted in the photographs from Ministry of Education and Health (MES), produced  by German photographers refugees hired by the government to produce the monumental propaganda album called “Obra Getuliana” (Getulian Work); by the other side, a gainful, mystic and cheerfully messy country photographed by US press photographers, such as Life magazine correspondents and a few hired by the US Department, among them, Genevieve Naylor.   Assigned by the Office of Inter-American Affairs, her mission was to picture Brazil as a good neighbor and to persuade the American audience that Brazilians in their daily life where closer to the liberal “American way of life” rather than the rigid fascist discipline.
publisher Facultad de Humanidades y Artes, UNR
publishDate 2024
url https://anuariodehistoria.unr.edu.ar/index.php/Anuario/article/view/434
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