Fotografia documental e a construção da visualidade da infância das camadas populares no Brasil na década de 1980

• Ano de defesa: 2020
• Autor(a) principal: Masiero, Cláudia Gisele
• Orientador(a): Monteiro, Charles
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica do Rio Grande do Sul
• Programa de Pós-Graduação: Programa de Pós-Graduação em História
• Departamento: Escola de Humanidades
• País: Brasil
• Palavras-chave em Português: Infância no Brasil; Visualidade; Década de 1980; Fotografia Documental
• Palavras-chave em Inglês: Childhood in Brazil; Visuality; 1980s; Documentary Photography
• Palavras-chave em Espanhol: Infancia en Brasil; Visualidad; Decada de 1980; Fotográfia Documental
• Área do conhecimento CNPq: CIENCIAS HUMANAS::HISTORIA
• Link de acesso: http://tede2.pucrs.br/tede2/handle/tede/9421

This study aims to understand and analyze the process of constructing the visuality of the childhood of the working classes in the 1980s, in Brazil. In this period, social movements gain strength and, consequently, the fight for children's rights is among them. The field of photography expands and is institutionalized with the creation of the National Institute of Photography linked to FUNARTE, as well as socially engaged photo documental production. All these issues are intertwined in various ways and contribute to the elaboration and highlighting of a childhood visuality, addressing the inadequate conditions that children and adolescents faced, especially the poorest, as well as the current Legislation institutions of children’s home. In this sense, the photobooks "A Questão do Menor" (1980), by Nair Benedicto, Juca Martins and Wagner Avancini and the "Antologia Fotográfica" (1989) by Walter Firmo are analyzed. The main theorical reference for the work with these images is Ulpiano de Meneses (2005), considering three dimensions, Visual, Visible and Vision, from which the visual document taken as a source of research can be understood. The photographs contained in the first work present children in different situations within FEBEM units and the Congonhas Clinic, the latter being for the mentally disabled. They are works of an essentially documentary character, but that do not neglect the aesthetic issues of photography. This work aims to document, but above all, to promote the debate and the transformation of reality. They are impacting photographs that show the involvement of the authors with the themes presented. Walter Firmo's photographs, in turn, bring a counterpoint to these images, even if they bring themes such as child labor, shows children inserted in different regional cultures, popular celebrations and in playful moments. The diversity and cultural and ethnic richness are strongly represented in these photographs, with emphasis on the visuality of black people and consequently of black children of working-class parents. The use of color photography by Firmo extrapolates the black and white characteristic of photo documentarism while still being documentary, indicating an authorial aesthetic option in the production of images. The set of photographs in question, the result of the context described above, corroborate the debate on issues related to childhood in the country, part of a wider movement, in which efforts culminate in the promulgation of the Statute of children and adolescents in 1990 (ECA).