"Fábricas da Alegria": o mercado de diversões e a organização do trabalho artístico no Rio de Janeiro e Buenos Aires (1918 - 1945)

• Autor(a) principal: Veras, Flavia Ribeiro
• Data de Publicação: 2017
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional do FGV (FGV Repositório Digital)
• Texto Completo: http://hdl.handle.net/10438/20595
• topic: Artists; Labor union; Work; Cultural exchanges; Amusement market; Artistas; Sindicalização; Trabalho; Intercâmbio artístico-cultural; Mercado de diversões; Buenos Aires; Rio de Janeiro; História; Artistas; Sindicatos e arte; Indústria cultural; Indústria do lazer; Trabalho

In this present thesis, the identity shaping articulation process of the artists in the means of entertainment of the portenhos and cariocas as workers was historicized. The close relationship between a market capitalization amusement in Rio de Janeiro and Buenos is identified with the artist’s greater exploration and discipline. As a case study, peculiarities of artistic work are discussed, such as the singular relation among capital, labor and the internal hierarchies of the category that opposed artists by subjective criteria and, as a consequence, have complicated the identification of artists as workers in general. Besides, the amusement market is interpreted as an inclusive work space, even though hierarchical. The unfolding of the 1929 World Crisis in the two cities accentuated the use of technology and popularized radio and film, which led to major transformations in the sector's labor market. In the midst of high unemployment rates and precarious working conditions, the associations of artists from both cities sought to articulate with the state to become unions and to claim labor rights. Meanwhile, the Good Neighbor policy and the OCIAA used the amusement markets of Latin American countries as one of the ways to assert their influence in the context of World War II. As a result, there has been an increase in the exchange between artists and entrepreneur in Latin America and the Hollywood and Broadway markets, as well as the possibilities for dialogue and business within Latin American amusement markets.