Os refugiados do pós-segunda guerra na imprensa carioca: uma análise fotográfica sobre os olhares de A Noite Ilustrada e de Revista da Semana

Abstract

The purpose of this dissertation lies in understanding, by examining the photographic source, how the magazines A Noite Ilustrada and Revista da Semana portrayed in their pages post-World War II refugees who arrived in the country through agreements signed with international agencies and hosted in the Hospedaria de Imigrantes da Ilha das Flores. The war resulted in profound changes in the international geopolitical scenario and the new configuration of territorial borders affected millions of people, whose nationalities needed to be changed, producing a large number of stateless persons. The “last million” designates a significant portion of refugees and displaced persons who chose not to repatriate, in most cases for political reasons and for lack of connection with the new territories that were being structured. One of the answers to this problem was the displacement to the Americas and Brazil played a significant role in receiving a significant portion of this contingent, as of 1947. It was one of the last waves of immigrants introduced into the country through the Hospedaria de Imigrantes da Ilha das Flores, which was founded in 1883 by the Imperial State, constituted as an important device of the Brazilian immigration policy, being one of the main places for receiving immigrants from the American continent. Characterized as the protagonist of the analyzes used, the study of photographic image and its contributions to historical science can be seen as a response to the challenges and demands of modernity, understood as a specific context in which the modes of interaction and sociability are conducted in the visual sense. and in its production, circulation and consumption. Starting from the perspective that every representation is endowed with historicity and reflects in itself the cultural and social conventions of its time, this work will be followed, as a methodological path and for reading the source, the semiotic procedure combined with the reflections and contributions of the visual culture studies. From these tools and the careful analysis of photographic artifacts, it is possible to capture in what terms the construction of public and media visibility of refugees was elaborated.