In Fidanza’s photographic studio: the construction of the image of enslaved women in the Belém city (1869-1875)
This paper aims to analyze part of the work of the portuguese photographer Felipe Augusto Fidanza, who started photographing in Belém city in 1867, becoming one of the main references in the field of photography in the north Brazilian region. His work is part of an important documentary collection f...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Recursos: | Associação Brasileira de Estudos e Pesquisas em Moda (Abepem) |
| Repositorio: | Revista dObra[s] |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.dobras.emnuvens.com.br:article/1239 |
| Acesso em linha: | https://dobras.emnuvens.com.br/dobras/article/view/1239 |
| Access Level: | acceso abierto |
| Palavra-chave: | Felipe Augusto Fidanza Enslaved women Photography Clothes Ornaments Mulheres escravizadas Fotografia Vestuário Adornos |
| Resumo: | This paper aims to analyze part of the work of the portuguese photographer Felipe Augusto Fidanza, who started photographing in Belém city in 1867, becoming one of the main references in the field of photography in the north Brazilian region. His work is part of an important documentary collection from the turn of the 20th century, in which urban scenes of everyday life in the city and the social “types” that circulated on the streets were portrayed. From the analysis of five photographs of different women, we observe their clothing and body adornments, as well as, their expressions and postures that grant us important clues that help to reveal their identities and part of their respective stories. |
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