Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória
Autor(a) principal: | |
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Data de Publicação: | 2014 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFSCAR |
Texto Completo: | https://repositorio.ufscar.br/handle/ufscar/6687 |
Resumo: | In 1939, Carmen Miranda was a consecrated singer in Brazil, in her career on the radio broadcasting as well as theatres and casinos. As a national idol she went to the United States under a contract for a revue on Broadway. Her new career in the United States was seen by Brazilians as a diplomatic mission and she was required to represent her nation and introduce the national rhythm samba to the North-American audiences. At that time, she performed the national identity which was remodeled through the mass culture national dynamics, integrating popular and afro-Brazilian elements, but also filtering them in order to produce an image based on whiteness. In this way, the white artist, remembered for her remarkable green eyes and attuned to the Hollywoodian fashion, featured the Baiana character, a Brazilian national type which referred to a black woman. In her international career, however, she became the new representation of Latin America in the midst of the Good Neighbor Policy period. Carrying her stylized Baianas dressings, Miranda evoked a happy, cheerful, sensual, exuberantly representation of Latin America, offering the opportunity to escapism during the World War II. From the radio broadcasting to the Hollywood cinema, and also participating in some TV shows, Carmen Miranda was part of a process in which the Brazilian national identity came to be produced through the mass culture involving national and international creations. Through the concept of performativity, this thesis explores how Carmen Miranda created new symbolical senses about the national identity and Latin American representations in a form of complicity, with consolidated meanings based on coloniality , considering both national and international dimensions. Because of her path (closely related to the Brazilian popular culture), Carmen reproduced the cultural meanings involved in her representations through three constitutive elements: humor, exaggeration and caricature. These characteristics, alongside with self-parody and irony, enabled some kinds of audiences to read her performances as subversive in a sense that she was destabilizing the comprehension of identity as essence, and, at the same time, challenging social constructed hierarchies. These features allowed her to be appropriated as a camp icon, in the United States, and in a carnivalesque way, in Brazil. |
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Balieiro, Fernando de FigueiredoEscudeiro, Richard Miskolcihttp://lattes.cnpq.br/1623888309974862http://lattes.cnpq.br/17540734306641366fd4133f-c3fb-49f8-adac-1439d49aaa592016-06-02T20:38:28Z2014-07-282016-06-02T20:38:28Z2014-03-11BALIEIRO, Fernando de Figueiredo. Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória. 2014. 329 f. Tese (Doutorado em Ciências Humanas) - Universidade Federal de São Carlos, São Carlos, 2014.https://repositorio.ufscar.br/handle/ufscar/6687In 1939, Carmen Miranda was a consecrated singer in Brazil, in her career on the radio broadcasting as well as theatres and casinos. As a national idol she went to the United States under a contract for a revue on Broadway. Her new career in the United States was seen by Brazilians as a diplomatic mission and she was required to represent her nation and introduce the national rhythm samba to the North-American audiences. At that time, she performed the national identity which was remodeled through the mass culture national dynamics, integrating popular and afro-Brazilian elements, but also filtering them in order to produce an image based on whiteness. In this way, the white artist, remembered for her remarkable green eyes and attuned to the Hollywoodian fashion, featured the Baiana character, a Brazilian national type which referred to a black woman. In her international career, however, she became the new representation of Latin America in the midst of the Good Neighbor Policy period. Carrying her stylized Baianas dressings, Miranda evoked a happy, cheerful, sensual, exuberantly representation of Latin America, offering the opportunity to escapism during the World War II. From the radio broadcasting to the Hollywood cinema, and also participating in some TV shows, Carmen Miranda was part of a process in which the Brazilian national identity came to be produced through the mass culture involving national and international creations. Through the concept of performativity, this thesis explores how Carmen Miranda created new symbolical senses about the national identity and Latin American representations in a form of complicity, with consolidated meanings based on coloniality , considering both national and international dimensions. Because of her path (closely related to the Brazilian popular culture), Carmen reproduced the cultural meanings involved in her representations through three constitutive elements: humor, exaggeration and caricature. These characteristics, alongside with self-parody and irony, enabled some kinds of audiences to read her performances as subversive in a sense that she was destabilizing the comprehension of identity as essence, and, at the same time, challenging social constructed hierarchies. These features allowed her to be appropriated as a camp icon, in the United States, and in a carnivalesque way, in Brazil.Em 1939, Carmen Miranda já estava consagrada profissionalmente no Brasil, embarcando para os Estados Unidos com um contrato para uma revista na Broadway, tomando sua viagem, aos olhos do público brasileiro, contornos de uma missão diplomática: representar o país no exterior e difundir o samba. A artista brasileira levava ao novo contexto, uma nova forma de representar o país que se redimensionava pela cultura de massas. Por esse meio, as expressões culturais populares e afro-brasileiras passavam a fazer parte da construção simbólica da nação, muito embora a partir de um filtro moral e racial que incorporava tais elementos caracterizando-os a partir da branquitude. Deste modo, Carmen Miranda interpretou com sua pele clara, olhos verdes chamativos e adequação à moda cosmopolita, a personagem negra da baiana que passava a ser ícone nacional. Ao migrar aos Estados Unidos, em pouco tempo chegou a ser a artista mais bem paga do cinema norte-americano, transformando-se em uma encarnação de uma nova imagem da América Latina, produzida em meio à Política de Boa Vizinhança. Levando consigo suas baianas , constituiu um espetáculo em cores, propiciado pelo cinema Technicolor, em uma representação una e fantasística de alegria e tropicalidade feminina da América Latina, dentro de um clima de amizade panamericana no sombrio período da Segunda Guerra Mundial. No novo contexto, o estereótipo da latino-americana de longa história no cinema hollywoodiano, se sobrepunha à figura da baiana, guardando conotações similares a ela, como a sensualidade. Passando do rádio ao cinema e tendo ainda atuado em programas na emergente televisão, a artista participou como protagonista do processo no qual a identidade nacional se redefinia por meio da cultura de massas e em uma dinâmica envolvendo representações nacionais e internacionais. Por meio do conceito de performatividade, esta tese explora como a artista criou novos sentidos simbólicos sobre a nação e a América Latina, imbricando representações de gênero, raça e sexualidade, em cumplicidade com significados já consolidados e embasados na colonialidade , tanto em uma dimensão nacional como internacional. Embebida de sua trajetória na cultura popular, o humor, o exagero e a caricatura eram elementos constitutivos da forma como Carmen performatizava os sentidos simbólicos envoltos em suas representações. Foram estas características, juntamente com suas interpretações autoparodísticas e sua ironia, que permitiram que a carreira de Carmen fosse compreendida como desestabilizadora das identidades enquanto essências e questionadora das hierarquias socialmente instituídas, abrindo assim espaço para recepções divergentes e subalternas das quais se destacam a sua apropriação camp, nos Estados Unidos, e carnavalizadora, no Brasil.Universidade Federal de Sao Carlosapplication/pdfporUniversidade Federal de São CarlosPrograma de Pós-Graduação em Sociologia - PPGSUFSCarBRSociologiaMiranda, Carmen, 1909-1955IdentidadesCultura de massaPerformatividadeCumplicidade subversivaCarmen MirandaIdentitiesMass culturePerformativitySubversive complicityCIENCIAS HUMANAS::SOCIOLOGIACarmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetóriainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesis-1-11ae239db-c40a-42bc-8bac-fca90a768483info:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFSCARinstname:Universidade Federal de São Carlos (UFSCAR)instacron:UFSCARORIGINAL5983.pdfapplication/pdf3986392https://repositorio.ufscar.br/bitstream/ufscar/6687/1/5983.pdf247e5a54af7325ba9d51ec6633cf13b4MD51TEXT5983.pdf.txt5983.pdf.txtExtracted texttext/plain0https://repositorio.ufscar.br/bitstream/ufscar/6687/4/5983.pdf.txtd41d8cd98f00b204e9800998ecf8427eMD54THUMBNAIL5983.pdf.jpg5983.pdf.jpgIM Thumbnailimage/jpeg7111https://repositorio.ufscar.br/bitstream/ufscar/6687/5/5983.pdf.jpg7d78f06e009b16e74f9feecae4ab564dMD55ufscar/66872023-09-18 18:30:40.673oai:repositorio.ufscar.br:ufscar/6687Repositório InstitucionalPUBhttps://repositorio.ufscar.br/oai/requestopendoar:43222023-09-18T18:30:40Repositório Institucional da UFSCAR - Universidade Federal de São Carlos (UFSCAR)false |
dc.title.por.fl_str_mv |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória |
title |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória |
spellingShingle |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória Balieiro, Fernando de Figueiredo Sociologia Miranda, Carmen, 1909-1955 Identidades Cultura de massa Performatividade Cumplicidade subversiva Carmen Miranda Identities Mass culture Performativity Subversive complicity CIENCIAS HUMANAS::SOCIOLOGIA |
title_short |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória |
title_full |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória |
title_fullStr |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória |
title_full_unstemmed |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória |
title_sort |
Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória |
author |
Balieiro, Fernando de Figueiredo |
author_facet |
Balieiro, Fernando de Figueiredo |
author_role |
author |
dc.contributor.authorlattes.por.fl_str_mv |
http://lattes.cnpq.br/1754073430664136 |
dc.contributor.author.fl_str_mv |
Balieiro, Fernando de Figueiredo |
dc.contributor.advisor1.fl_str_mv |
Escudeiro, Richard Miskolci |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/1623888309974862 |
dc.contributor.authorID.fl_str_mv |
6fd4133f-c3fb-49f8-adac-1439d49aaa59 |
contributor_str_mv |
Escudeiro, Richard Miskolci |
dc.subject.por.fl_str_mv |
Sociologia Miranda, Carmen, 1909-1955 Identidades Cultura de massa Performatividade Cumplicidade subversiva |
topic |
Sociologia Miranda, Carmen, 1909-1955 Identidades Cultura de massa Performatividade Cumplicidade subversiva Carmen Miranda Identities Mass culture Performativity Subversive complicity CIENCIAS HUMANAS::SOCIOLOGIA |
dc.subject.eng.fl_str_mv |
Carmen Miranda Identities Mass culture Performativity Subversive complicity |
dc.subject.cnpq.fl_str_mv |
CIENCIAS HUMANAS::SOCIOLOGIA |
description |
In 1939, Carmen Miranda was a consecrated singer in Brazil, in her career on the radio broadcasting as well as theatres and casinos. As a national idol she went to the United States under a contract for a revue on Broadway. Her new career in the United States was seen by Brazilians as a diplomatic mission and she was required to represent her nation and introduce the national rhythm samba to the North-American audiences. At that time, she performed the national identity which was remodeled through the mass culture national dynamics, integrating popular and afro-Brazilian elements, but also filtering them in order to produce an image based on whiteness. In this way, the white artist, remembered for her remarkable green eyes and attuned to the Hollywoodian fashion, featured the Baiana character, a Brazilian national type which referred to a black woman. In her international career, however, she became the new representation of Latin America in the midst of the Good Neighbor Policy period. Carrying her stylized Baianas dressings, Miranda evoked a happy, cheerful, sensual, exuberantly representation of Latin America, offering the opportunity to escapism during the World War II. From the radio broadcasting to the Hollywood cinema, and also participating in some TV shows, Carmen Miranda was part of a process in which the Brazilian national identity came to be produced through the mass culture involving national and international creations. Through the concept of performativity, this thesis explores how Carmen Miranda created new symbolical senses about the national identity and Latin American representations in a form of complicity, with consolidated meanings based on coloniality , considering both national and international dimensions. Because of her path (closely related to the Brazilian popular culture), Carmen reproduced the cultural meanings involved in her representations through three constitutive elements: humor, exaggeration and caricature. These characteristics, alongside with self-parody and irony, enabled some kinds of audiences to read her performances as subversive in a sense that she was destabilizing the comprehension of identity as essence, and, at the same time, challenging social constructed hierarchies. These features allowed her to be appropriated as a camp icon, in the United States, and in a carnivalesque way, in Brazil. |
publishDate |
2014 |
dc.date.available.fl_str_mv |
2014-07-28 2016-06-02T20:38:28Z |
dc.date.issued.fl_str_mv |
2014-03-11 |
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2016-06-02T20:38:28Z |
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info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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publishedVersion |
dc.identifier.citation.fl_str_mv |
BALIEIRO, Fernando de Figueiredo. Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória. 2014. 329 f. Tese (Doutorado em Ciências Humanas) - Universidade Federal de São Carlos, São Carlos, 2014. |
dc.identifier.uri.fl_str_mv |
https://repositorio.ufscar.br/handle/ufscar/6687 |
identifier_str_mv |
BALIEIRO, Fernando de Figueiredo. Carmen Miranda entre os desejos de duas nações: cultura de massas, performatividade e cumplicidade subversiva em sua trajetória. 2014. 329 f. Tese (Doutorado em Ciências Humanas) - Universidade Federal de São Carlos, São Carlos, 2014. |
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https://repositorio.ufscar.br/handle/ufscar/6687 |
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Universidade Federal de São Carlos |
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