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...
Guardado en:
| Autores principales: | , |
|---|---|
| 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 |
| Aporte de: |
| Sumario: | 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. |
|---|