O suor é salgado: o projeto político-pedagógico de Sebastião Salgado

• Ano de defesa: 2006
• Autor(a) principal: Gastaldoni, Dante
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Programa de Pós-graduação em Comunicação; Comunicação
• Palavras-chave em Português: Fotografia; Fotojornalismo; Globalização; Edição fotográfica; Alteridade; Photography; Photojournalism; Photographic edition; Alterity; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://app.uff.br/riuff/handle/1/20832

Sebastião Salgado s oeuvre, chiefly from the decade of 1980 on, was submitted to a media propagation without parallel in the history of Photography. In this work, the possible variables that could justify the public acknowledging of this Brazilian photographer will be investigated, with especial attention to the efficiency in Salgado s photographic narrative as well as to the recurrent critiques to the aestheticization of misery attributed to his work. Among the hypothesis chosen to explain the Salgado phenomenon , the biography of a boy born in Minas Gerais (Brazil) is presented, focusing on the marxist basis which provided this communist activist with a critical spirit. Salgado has a bachelor s degree in Economics from the Universidade Federal do Espírito Santo (Brazil); he started the master s course in Economics at Universidade de São Paulo (Brazil) and graduated at the University of Vanderbilt (USA); he holds a PhD in Economics from the University of Paris (France). Sebastião Salgado lived in Paris, in political exile, before starting his career as a photographer at the age of 28. Based on the profile of a historically determined citizen, the analysis presented here highlights the most relevant aspects of the photojournalism Salgado claims to perform, considering the historical affinity between his guidelines and the process of social exclusion generated by the globalized economy; the photographic influences which contributed to the prolix and serial quality which Salgado himself classifies as photographic phenomenon ; the prominently pedagogical edition in which the photographer presents the themes he chooses to photograph; and, finally, the keen eye for political marketing with which this doctor in Economics, who has adopted the language of photography, manages the financing and propagation of what we call inside the limits of this work his political-pedagogical project.