Consuming Carmen Miranda: Dislocations and dissonances in the reception of an icon

Balieiro, Fernando de Figueiredo

doi:10.1590/1806-9584.2017v25n1p269

Cited by 6 publications

(9 citation statements)

References 3 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…With Carmen's success shortly after her appearance on "Streets of Paris" (a musical revue that debuted in June 1939 at the Broadhurst Theater), the association of her image with fashion and advertising industries was almost inevitable. Carmen negotiated contracts with clothing manufacturers and her style soon invaded department stores (Balieiro, 2017). Macy's was the first to sell clothes and accessories inspired by Carmen's look, "running huge retail ads, with [her] name and photo referring to the Broadhurst Theater.…”

Section: "The Lady In the Tutti-frutti Hat": Carmen Miranda The Marke...mentioning

confidence: 99%

“…However, the broad cultural resonance with the baiana only happened with Carmen's version of the costume (Hall-Araújo, 2013b). Although it had initially been rejected at the gala carnival dances of Rio de Janeiro (Balieiro, 2017) due to its relation to an African image, Carmen's characterization helped destabilize existing racial boundaries. Stimulated by advertising, Carmen's Hollywood productions, and the market for carnival costumes, women began to incorporate Carmen's baiana as a representation of Brazilian femininity (Balieiro, 2017) and a kind of domestic exoticism (Hall-Araújo, 2013b).…”

Section: "O Que Que a Baiana Tem?": Clothes And Costumesmentioning

confidence: 99%

“…Carmen was supposed to be the "Ambassadress of Samba" (Balieiro, 2017), supporting a "cultural policy that emphasized [Brazilian] national unity" (Balieiro, 2017, p. 275). Nonetheless, her U.S. songs were a mixture of Latin genres that were fit for American tastes (Macedo, 2011).…”

Section: "They Said I Came Back Americanized": the Songsmentioning

confidence: 99%

“…A modern approach sees camp as a way of being paradoxical, mixing debauchery, artifice, and aesthetic mannerisms aimed at demystifying the artificiality of what is considered natural (Balieiro, 2014;Trevisan, 2000). Therefore, Carmen's persona is appropriate as a device for exposing the naturalized arbitrariness of culture (Balieiro, 2017). For those who seek self-reinvention in bold and spectacular ways (O'Neil, 2005), Carmen is a font of inspiration.…”

Section: "Chica Boom Chic": the Camp Iconmentioning

confidence: 99%

See 3 more Smart Citations

Carmen Miranda: an Embodied Marketplace Icon

Oliveira

2022

Organ. Soc.

View full text Add to dashboard Cite

Building upon the CCT framework of incorporation of ideologies, taste regimes, and national and regional interests by consumer cultures, this paper proposes that social and political ideologies are also embodied in marketplace icons. This paper aims, then, to bring together the concepts of iconicity and liminality to provide an account of Carmen Miranda as a marketplace icon who not only embodied the national myths of her time but also continues to be employed in the current marketplace for a variety of purposes. As such, icons like Carmen contribute to the production of marketplaces in which historical, political, and ideological issues are naturalized. Carmen’s collaboration via cultural industries such as radio and cinema, her omnipresence in advertising campaigns and in the printed media, and her influence on female fashion contributed to the consumer culture of her time. Moreover, the mythical character of her persona and her cultural legacy hold an expressive symbolic power, making her a remarkable contemporary marketplace icon. The key to her iconicity is her liminality; unsettling hierarchies, traversing social planes, and questioning identity. As a marketplace icon, Carmen’s legacy is thus constantly reissued, founded upon the ambivalence of her persona and signaling her transgressive potential.

show abstract

Section: "The Lady In the Tutti-frutti Hat": Carmen Miranda The Marke...mentioning

confidence: 99%

Section: "O Que Que a Baiana Tem?": Clothes And Costumesmentioning

confidence: 99%

Section: "They Said I Came Back Americanized": the Songsmentioning

confidence: 99%

Section: "Chica Boom Chic": the Camp Iconmentioning

confidence: 99%

See 2 more Smart Citations

Carmen Miranda: an Embodied Marketplace Icon

Oliveira

2022

Organ. Soc.

View full text Add to dashboard Cite

show abstract

“…Termo originalmente próprio da "subcultura homossexual", que diz respeito à estética exagerada e estilizada que tende a hiperbolizar a feminilidade por meios performáticos, comum na interpretação de drag queens(Balieiro, 2017).…”

unclassified

Formações discursivas sobre homossexualidade em telenovelas brasileiras

Risk¹

View full text Add to dashboard Cite

By cultural industry is meant the set of means of production and reproduction from which the work of art, its conceptual design and artistic value are corrupted in the form of merchandise. On the other hand, studying mass culture requires scrutinizing its hybridization with aspects of popular culture and with the sociability relationships of each socio-historical context. In the history of Brazilian television, the novel is a very popular product, which acquired its own characteristics as a television genre. Since the 1970s, Brazilian telenovelas have incorporated a series of homosexual characters, who have undergone successive transformations. At first, homosexual characters were presented mostly stereotypically and carically, as effeminate and affected men, who played a comic and secondary role in the narrative. Subsequently, they began to occupy positions of greater prominence in the narrative plot and to present characteristics identified by the norms of gender as masculinized, in addition to seeking monogamous ties. Queer studies offer an instigating theoretical-critical resource for discussing these representations and changes in the figure of the homosexual, portrayed by Brazilian teledramaturgy, as they challenge the coherence and stability of the subject as "bearer" of a "sexual orientation", such as the flat characters of telenovelas perform. In considering these assumptions, as well as the relevance of performing a critical analysis of the ways in which homosexuality has been historically treated in the main product of the Brazilian cultural industry, the present study aimed to analyze the discursive formations on homosexuality in Brazilian telenovelas, noble, from its articulation with cultural, social and historical matrices. For that, a qualitative research was carried out and criteria were established for composition of the corpus from scenes of three telenovelas of the decade of 2010 that had gay characters throughout the plot, as well as news stories about each plot in websites, magazines and newspapers at the time of its exhibition. The selected scenes have been translated. The data were analyzed according to the theoretical framework of queer studies, cultural studies, as well as the literature on the area of communication about telenovelas. Based on the statements on homosexuality present in the corpus, caricature profiles of the characters that served as the basis for delimiting the discursive formations on homosexuality in light of the social, historical and cultural matrices were established. Four descriptive categories of the discursive formations on homosexuality present in telenovelas were elaborated, namely: comedy and morality, closet and hegemony, affective relations and familiar relations. The presence of homosexuality in Brazilian theater in the last decades has its relevance for allowing visibility and stimulating the public debate on the subject. On the other hand, the critical analysis showed that the representation of gay characters in novels is problematic, since it relies heav...

show abstract

The Individual Experience of Migrant Celebrities

Sanchez

2022

Discourses of Migration in Documentary Film

View full text Add to dashboard Cite

Consuming Carmen Miranda: Dislocations and dissonances in the reception of an icon

Cited by 6 publications

References 3 publications

Carmen Miranda: an Embodied Marketplace Icon

Carmen Miranda: an Embodied Marketplace Icon

Formações discursivas sobre homossexualidade em telenovelas brasileiras

The Individual Experience of Migrant Celebrities

Contact Info

Product

Resources

About