A construção imagética das elites brasileiras em contraposição a outros grupos sociais nas fotografias de Alberto Henschel e Revert Henrique Klumb: práticas socioculturais e suas produções de sentido
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Data
2018-08-27
Autores
Diniz, Thales Valeriani Graña
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
As fotografias são fatos sociais que representam determinados assuntos numa perspectiva ideológica de construção da realidade. Sua construção e leitura estão vinculados a fatos históricos, ideológicos, tecnológicos e sociais. As imagens que representam os grupos sociais não são frutos do acaso, há uma série de fatores sócio históricos que influenciam na sua elaboração, assim como sua produção de sentido que se constrói também a partir do contexto no qual o receptor está inserido. Dito isto, a presente pesquisa articula aspectos da linguagem fotográfica, a sua presunção em representar um real concreto, com a construção de identidades no Brasil Império, em específico, a exploração do conceito de exótico e do “Outro” nas produções da época. Para tanto, é feita uma análise para que se possa compreender como foi fotografada a família imperial em contraposição a outros grupos sociais na época do Brasil Império, durante parte do reinado de Dom Pedro II, entre 1852 e 1885, período no qual Alberto Henschel e Revert Henrique Klumb atuaram no país. Ambos foram detentores do título de Fotógrafos da Casa Imperial e retrataram paisagens, a família imperial, membros da aristocracia, escravos e pessoas das classes populares cujas obras compõem o imaginário oitocentista nacional. É apresentado um quadro geral da fotografia da época, além de uma análise das técnicas de composição mobilizadas em suas produções e como a linguagem fotográfica pode abordar o imaginário social em função de conceitos já existentes. Como é feita a representação da elite econômica e política, qual a relação entre tais produções e os acontecimentos históricos, como os escravos e pessoas das classes populares são representados e as produções de sentidos de tais retratos são algumas das questões que esta pesquisa pretende responder usando uma abordagem metodológica híbrida entre a análise das conotações da imagem propostas por Barthes e Eco, os quais indicam uma leitura no seu âmbito denotativo, estrutural, conotativo, sociocultural. Como resultado tem-se um pacto comunicacional entre os fotógrafos e os seus consumidores calcados em valores eurocêntricos e em identidades mobilizadas pelo exótico, no que deve ser mostrado ou omitido em relação à sociedade da época. Outra característica central é a ausência de elementos como forma de significação e disseminação dos valores da Coroa, haja vista o não registro da violência de um regime escravagista e também a falta de objetos que remetam a realeza, como coroa e manto, por exemplo, nos registros visuais do imperador e sua família, criando a ideia de membros austeros e dignos de exercer o poder a eles incumbido.
Photographs are social facts that represent certain subjects in an ideological perspective of reality construction. Its construction and reading are linked to historical, ideological, technological and social facts. The images that represent social groups not happen by chance, there are a number of socio-historical factors that influence their elaboration, as well as their production of meaning that is also constructed from the context in which the receiver is inserted. That said, this research articulates aspects of the photographic language, its presumption in representing a concrete reality, with the construction of identities in the Brazilian empire age, specifically, the exploration of the concept of exotic and "Other" in the productions of that historical moment. Therefore, an analysis is made to understand how the imperial family was photographed in contrast to other social groups during the Brazilian empire in part of the reign of Dom Pedro II, between 1852 and 1885, during which time Alberto Henschel and Revert Henrique Klumb worked in the country. Both of them were holders of the title of Photographers of the Imperial House and portrayed landscapes, the imperial family, members of the aristocracy, slaves and people of the popular classes whose works compose the nineteenth century imaginary national. It presents a general picture of the photography of that time, besides an analysis of the composition techniques mobilized in its productions and how the photographic language can approach the social imaginary in function of already existing concepts. As the representation of the economic and political elite is made, what is the relation between such productions and historical events, such as slaves and people of the popular classes are represented and the productions of meanings of such portraits are some of the questions that this research intends to answer using a hybrid methodological approach between the analysis of image connotations proposed by Barthes and Eco, which indicate a reading in its denotative, structural, connotative, sociocultural scope. As a result, there is a communication pact between photographers and their consumers based on Eurocentric values and identities mobilized by the exotic, in what must be shown or omitted in relation to the epoch society. Another central characteristic is the absence of elements as a form of signification and dissemination of the Crown's values, given the non-registration of the violence of a slave regime and also the lack of objects that refer to royalty, such as crown and mantle, for example, in visual records of the emperor and his family, creating the idea of austere and worthy members to exercise the power entrusted to them.
Photographs are social facts that represent certain subjects in an ideological perspective of reality construction. Its construction and reading are linked to historical, ideological, technological and social facts. The images that represent social groups not happen by chance, there are a number of socio-historical factors that influence their elaboration, as well as their production of meaning that is also constructed from the context in which the receiver is inserted. That said, this research articulates aspects of the photographic language, its presumption in representing a concrete reality, with the construction of identities in the Brazilian empire age, specifically, the exploration of the concept of exotic and "Other" in the productions of that historical moment. Therefore, an analysis is made to understand how the imperial family was photographed in contrast to other social groups during the Brazilian empire in part of the reign of Dom Pedro II, between 1852 and 1885, during which time Alberto Henschel and Revert Henrique Klumb worked in the country. Both of them were holders of the title of Photographers of the Imperial House and portrayed landscapes, the imperial family, members of the aristocracy, slaves and people of the popular classes whose works compose the nineteenth century imaginary national. It presents a general picture of the photography of that time, besides an analysis of the composition techniques mobilized in its productions and how the photographic language can approach the social imaginary in function of already existing concepts. As the representation of the economic and political elite is made, what is the relation between such productions and historical events, such as slaves and people of the popular classes are represented and the productions of meanings of such portraits are some of the questions that this research intends to answer using a hybrid methodological approach between the analysis of image connotations proposed by Barthes and Eco, which indicate a reading in its denotative, structural, connotative, sociocultural scope. As a result, there is a communication pact between photographers and their consumers based on Eurocentric values and identities mobilized by the exotic, in what must be shown or omitted in relation to the epoch society. Another central characteristic is the absence of elements as a form of signification and dissemination of the Crown's values, given the non-registration of the violence of a slave regime and also the lack of objects that refer to royalty, such as crown and mantle, for example, in visual records of the emperor and his family, creating the idea of austere and worthy members to exercise the power entrusted to them.
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Palavras-chave
Fotografia, Alberto Henschel, Revert Henrique Klumb, Brasil, Iconografia, Photography, Brazil, Iconography