No abstract
Este artigo enfoca o branding contemporâneo da cidade do Rio de Janeiro, enquanto cidade maravilhosa. Serão exploradas as reinvenções da cidade para as Olimpíadas de 2106 traçando uma comparação entre estes preparativos e a exibição internacional comemorativa do Centenário de 1922. Argumenta-se que esses eventos internacionais revelam desejos por uma cidade ideal, espetáculos da modernidade e imaginários midiáticos.
R io de Janeiro is a city that enacts a continuous dialogue between its architectural constructions and natural surroundings. The sheer exuberance of the tropical vegetation casts into perspective architectural aspirations and contrasts to the neglect of its urban infrastructure. The vitality of Rio's urban culture is mirrored not only in monumental stone but also in the constant creation and recreation of musical forms, dance rhythms, bodily configurations, and new artistic expressions. Yet at the end of the nineteenth century and the beginning of the twentieth, the tourists that visited what was then the federal capital from the backlands of Brazil were only moderately concerned with the tropical scenery. Instead, they were eagerly purchasing postcards that depicted the emblems of national progress. 1 Postcards of trolley cars, monuments, and technical installations embedded with the mythologizing force of the modern were sent to relatives and friends stranded in the remote and provincial expanses of a largely unexplored Brazil. 295 Public Culture 11(1): 294-312 R This essay is a modified English translation of a version that was published in Portuguese as "Ruí-nas Modernistas," Lugar-Comum 1 (1997): 99-115.
Through selective readings of literary chronicles, artistic and media representations, this paper explores how a particular kind of crowd -the carnival crowdhas been interpreted and represented in key periods of Rio de Janeiro's history. I argue that the temporal, spatial and aesthetic configurations of the carnival crowd express the bodily dimensions of a profane collective celebration that mirrors the distinct cultural negotiations of the city. In contemporary Rio de Janeiro, the return of the carnival crowd also highlights old and new forms of public interaction. The presence of partying multitudes in the streets of the city posits considerable organizational and social challenges. But the carnival crowd is endorsed by the media, the municipal authorities and the tourist industry because it represents a major source of commercial profit, it promotes a mythical image of the hedonistic city and it also expresses an ultimate celebratory occupation of public space. Caught in the crowdIn 2011, the carnival took place in early March. Under the blazing summer sun, I stood with a couple of friends in an old colonial square in downtown Rio. The live carnival band was playing full blast, street vendors were plying wares of masks, drinks and trinkets. The crowd kept getting thicker and thicker. Soon my carnival mask was glued to my face and the tinsel and serpentine coils streaking my hair were soaked with sweat. The crowd swayed and sang. My body was sandwiched between other bodies. I had no choice but to follow the rhythm and relax with the flow. As the band changed tunes, people moved accordingly and brief blanks of empty space emerged. After many hours, we broke loose from the crowd. Crossing the street and perching myself on the stone steps of a baroque church, I could see from afar the dense mass of pulsating, compacted people. I had been a part of the variegated, anonymous, sweat drenched, loud, carnival crowd.My carnival experience was far from unique. The year 2011 established Rio de Janeiro as the main city of street carnival in all of Brazil. The municipality authorized the partying of 425 blocos. Varying in size and sophistication, the blocos are associations of friends, residents of the same neighbourhood, or amateur and professional lovers of carnival that gather together and form a bs_bs_banner
Este artigo discute, seletivamente, como as novas estéticas do realismo no cinema, reality shows, relatos biográficos e reality tours promovem uma “pedagogia do olhar”. Ao fazerem uso do “efeito do real” e do “efeito de realidade”, as novas estéticas realistas legitimam suas ficções enquanto interpretações da realidade. Na saturação midiática contemporânea, as novas estéticas realistas oferecem retratos da “realidade” enquanto participam da cultura do espetáculo e do entretenimento.
This essay offer a comparative analysis of three sets of photographs made in different periods of Brazilian history: portraits of urban slaves made by the photographer Christiano Júnior in the mid-nineteenth century during the Second Empire; photographs of political propaganda commissioned by the Estado Novo in the early 1940s (Obra Getuliana); and contemporary images of Rio de Janeiro favela dwellers taken by the inhabitants of the favelas themselves as part of the communitarian projects of “visual inclusion.” While examining these photographs, we find that our attention is not only centered on the visual traces of the extinct past that resurfaces; rather, we also scan the vestiges of the future that these images distill. Their use of a visual rhetoric that defines scenarios, excludes or includes protagonists, and, most crucially, evokes pedagogies of the gaze allows us to glean signs of becoming, modes of making visible imagined modernities and communities. Despite their disparity, these sets of images organize temporal experiences in specific fashions. In the carte de visite, the testimony of continuity and of succeeding generations attests to a past exemplarily recorded for the future. In the case of the Obra Getuliana, the temporal mode insists on the inauguration of the future-in-the-present. In the photographs of social “inclusion,” the emphasis is cast on the present, and the future is maintained in suspenseful incompletion. In each set of images, therefore, a version of modernity is rendered as progress, rupture, and the right to the quotidian.
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