A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)

The aim of this article is to compare two illustrated magazines that had a short life in the 1930s in their respective countries: S.Paulo (Brazil 1935/1936), and, as a counterpoint, Rotofoto (Mexico 1938). I seek to examine, in particular, how common themes between the two countries were constituted...

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Main Author: Carlos Alberto Sampaio Barbosa
Format: Article
Language:English
Published: Institut Pluridisciplinaire pour les Etudes sur l'Amérique Latine 2015-12-01
Series:L'Ordinaire des Amériques
Subjects:
Online Access:http://journals.openedition.org/orda/2238
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spelling doaj-3ca1e04fd624478db1b75392bca9e9672020-11-25T01:38:35ZengInstitut Pluridisciplinaire pour les Etudes sur l'Amérique LatineL'Ordinaire des Amériques2273-00952015-12-0121910.4000/orda.2238A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)Carlos Alberto Sampaio BarbosaThe aim of this article is to compare two illustrated magazines that had a short life in the 1930s in their respective countries: S.Paulo (Brazil 1935/1936), and, as a counterpoint, Rotofoto (Mexico 1938). I seek to examine, in particular, how common themes between the two countries were constituted, contributing to the construction of a Latin American political imaginary. From the hypothesis that -despite the difficult contacts between Mexico and Brazil due to language differences, distance, and lack of exchanges between their intellectuals- there were exchanges of political and cultural policies, mainly among social networks of artists and intellectuals. The comparison between the two magazines is included in this broader reflection. Both magazines present privileged platforms for a comparative study of the two countries and the visual culture established in the two societies. My goal is to show how these two cultural magazines have widely used photography as the core elements of their graphic design, while transmitting in their pages the political situation in both countries.http://journals.openedition.org/orda/2238photographymagazinesvisual cultureMexicoBrazil
collection DOAJ
language English
format Article
sources DOAJ
author Carlos Alberto Sampaio Barbosa
spellingShingle Carlos Alberto Sampaio Barbosa
A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)
L'Ordinaire des Amériques
photography
magazines
visual culture
Mexico
Brazil
author_facet Carlos Alberto Sampaio Barbosa
author_sort Carlos Alberto Sampaio Barbosa
title A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)
title_short A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)
title_full A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)
title_fullStr A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)
title_full_unstemmed A fotografia numa era de política de massas latinoamericana: as revistas S.Paulo (Brasil, 1936) e Rotofoto (México, 1938)
title_sort fotografia numa era de política de massas latinoamericana: as revistas s.paulo (brasil, 1936) e rotofoto (méxico, 1938)
publisher Institut Pluridisciplinaire pour les Etudes sur l'Amérique Latine
series L'Ordinaire des Amériques
issn 2273-0095
publishDate 2015-12-01
description The aim of this article is to compare two illustrated magazines that had a short life in the 1930s in their respective countries: S.Paulo (Brazil 1935/1936), and, as a counterpoint, Rotofoto (Mexico 1938). I seek to examine, in particular, how common themes between the two countries were constituted, contributing to the construction of a Latin American political imaginary. From the hypothesis that -despite the difficult contacts between Mexico and Brazil due to language differences, distance, and lack of exchanges between their intellectuals- there were exchanges of political and cultural policies, mainly among social networks of artists and intellectuals. The comparison between the two magazines is included in this broader reflection. Both magazines present privileged platforms for a comparative study of the two countries and the visual culture established in the two societies. My goal is to show how these two cultural magazines have widely used photography as the core elements of their graphic design, while transmitting in their pages the political situation in both countries.
topic photography
magazines
visual culture
Mexico
Brazil
url http://journals.openedition.org/orda/2238
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