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Popular Culture Imaginings of the Mulatta: Constructing Race, Gender

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Popular Culture Imaginings of the Mulatta: Constructing Race, Gender, Sexuality, and Nation in the United States and Brazil A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Jasmine Mitchell IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Bianet Castellanos, Co-adviser Erika Lee, Co-adviser AUGUST 2013 © Jasmine Mitchell 2013 Acknowledgements This dissertation would have been impossible without a community of support. There are many numerous colleagues, family, friends, and mentors that have guided ths intellectual and personal process. I would first like to acknowledge my dissertation committee for their patience, enthusiasm, and encouragement while I was in Minneapolis, New York, São Paulo, and everywhere in between. I am thankful for the research and methodological expertise they contributed as I wrote on race, gender, sexuality, and popular culture through an interdisciplinary and hemispheric approach. Special gratitude is owed to my co-advisors, Dr. Bianet Castellanos and Dr. Erika Lee for their guidance, commitment, and willingness to read and provide feedback on multiple drafts of dissertation chapters and applications for various grants and fellowships to support this research. Their wisdom, encouragement, and advice for not only this dissertation, but also publications, job searches, and personal affairs were essential to my success. Bianet and Erika pushed me to rethink the concepts used within the dissertation, and make more persuasive and clearer arguments. I am also grateful to my other committee members, Dr. Fernando Arenas, Dr. Jigna Desai, and Dr. Roderick Ferguson, whose advice and intellectual challenges have been invaluable to me. I especially appreciate Fernando’s encouragement of my work in Brazil, his amazing graduate courses, which not only taught me crucial analytical tools and sharpened my Portuguese from “portuñol,” but helped my understanding of Lusophone cultures. My committee members all provided me with exceptional intellectual role models. Aside from my wonderful dissertation committee, I have received a great deal of encouragement and have learned much from my graduate school professors and mentors, especially Dr. Michelle Wright, Dr. Trica Keaton, and Dr. Omi Natasha Tinsley. Conducting this research in São Paulo and Rio de Janeiro would also not have been possible without the support and advice of Brazilian scholars and institutions. In particular, I thank Professor Cristina Mungioli at the Universidade de São Paulo for providing essential research connections and affiliations at the Centro dos Estudos da Telenovela at the Universidade de São Paulo, welcoming me into her graduate-level i classes, and introducing me to valuable research contacts at Globo TV. Consistently going out of her way to help me, Professor Mungioli was pivotal to my success in Brazil from her introductions to having the Centro dos Estudos da Telenovela and Universidade de São Paulo sponsor my Brazilian research visa. The Brazilian professors and graduate students affiliated with the Centro dos Estudos da Telenovela were very helpful for this project from helping translate my project to other institutions to transcribing telenovelas to providing a sense of community on campus. I also feel especially blessed for the wonderful lifelong friends I made in São Paulo such as Aline Barbieri and Camila Barbieri, who made my transition to São Paulo much easier and always figured out how to place a roof over my head. I would also like to acknowledge my Williams College undergraduate professors, who served as mentors and whose classes made me fall in love with American Studies and Latin American Studies. Among the wonderful professors at Williams, I am especially indebted to Carmen Whalen, Mark Reinhardt, and James Mahon. In particular, I would like to thank Molly Magavern, Director of Special Academic Programs, who provided immense support, encouragement, and advice during my time at Williams College and during the graduate school application process. I would like to thank the Mellon Mays Undergraduate Fellowship program for supporting this project from its origins as an undergraduate to the graduate school phase. The program’s fellows, alumni, affiliated professors, and staff succeeded in making me feel that I belonged in the academy and helped sustain a nurturing community. I am also extremely grateful for the generous financial support I received from various sources, without which I could not have completed this project and shared my work at academic conferences: Interdisciplinary Center for Global Change at the University of Minnesota, the Graduate School at the University of Minnesota, the Department of American Studies at the University of Minnesota, the Community of Scholars Program at the University of Minnesota, the Social Science Research Council, the Woodrow Wilson Foundation, and the Mellon Mays Undergraduate Fellowship Program. I must also thank the University of Minnesota for granting funds for extensive Portuguese Language Study in Brazil through the Foreign Language and Area Studies ii (FLAS) Program and preliminary research trips to Brazil. The Interdisciplinary Center for Global Change also provided another intellectual home for me outside of the American Studies department. Finally, I want to thank my gracious and infinitely giving family and friends. My family and have friends have supported my work and the choices that had led to its completion. My husband, Travis Batty, never stopped believing in me even when I sometimes ceased to believe in myself. His confidence in me has never wavered. He has read countless drafts, helped edit my manuscripts, listened to my academic musings, encouraged popular culture discoveries, and shared in my moments of triumph and disappointment. With lots of frequent flyer miles, international phone bills, emails, and video chats while I lived in Minneapolis and Brazil, he truly shared this dissertation experience with me. My family’s passion for learning and their support of my vision sustained this project even on difficult days. My parents, Janise and Bill Mitchell, have loved, nurtured, and supported me unconditionally at every step of my academic adventures from Brooklyn to Brazil and everywhere in between. My brother, Benjamin Mitchell, always reminded me that I am his “big sis” and that he was proud of me. My friends from junior high to graduate school provided lots of encouragement and support along the way, including Beibhinn O’Donoghue who loaded up all my belongings and drove me to Minneapolis, to start the graduate school journey. Numerous friends and fellow graduate students soothed my fears and anxieties over the years and reminded me that I was more than capable of completing this project. Jae Cody and Rachel Gall reminded me that there was a life outside of graduate school in Minneapolis and gave me a place to stay whenever I visited Minneapolis to meet with my committee. Along with their friendship, home-cooked meals, and fish taco outings, Kate and Dan Elortegui offered a place to stay in Los Angeles while conducting research at the UCLA Film and Television Archive and the Academy of Motion Picures Library. In New York, Maggie Popkin and Yoko Iwaki, while pursuing their own doctoral degrees, encouraged me to stay on schedule. My extended family provided so much support over the years from e- mails, cards, phone calls, and cards. My beloved wise, sharp, and witty grandmother, Patricia Mitchell, has always supported my academic endeavors and served as a model of iii quiet strength. She and my grandparents, James and Margaret Reeder (affectionately PopPop and MomMom), supported and encouraged me since I first began reading books. Gifting subscriptions to National Geographic Magazine to ferment my wanderlust at the age of nine, constantly encouraging and asking questions about my studies and travels throughout my education, recounting family stories, memories of Jim Crow and their struggles and aspirations, reminding me to rest, relax, and enjoy life, and instilling in me a sense of community responsibility, MomMom and PopPop were key to my intellectual, educational, and personal development. Both Patricia Mitchell and the Reeders, incredibly intelligent individuals, made me realize how fortunate I am to have had the opportunities that they did not. PopPop, still the most intelligent and well-read man that I have ever met, dreamed of attaining a doctoral degree and repeatedly told me that the day that I received my Ph.D. would be one of the proudest days of his life. While he is not here with me in the flesh, he is still here with me in spirit. In times of frustration, his inspiration has reminded me that this dissertation project is much bigger than myself. I dedicate this dissertation to PopPop. iv Dedication To my grandfather, PopPop, James Reeder, the most intelligent man I have ever known, for his loving support, encouragement, and intellecual and personal inspiration v Table of Contents Introduction 1 Chapter One: Constructions of Racial Mixture in the United States and Brazil 36 Chapter Two: Starring the Biracial, Black, Negra Actress: Mixed-Race Star Texts 104 Chapter Three: The Morena and the Mulata in Brazilian Telenovelas 162 Chapter Four: Reinventing the Mulatta in the United States 227 Chapter Five: U.S. Media Imaginings of Brazil and Brazil’s Self-Projection 278 Epilogue 351 Bibliography 355 vi Introduction “Strange to wake up and realize you are suddenly in style.
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  • Graffiti Na Novela Cheias De Charme: Um Discurso 'Colorido' Da Poiesis Existencialista

    Graffiti Na Novela Cheias De Charme: Um Discurso 'Colorido' Da Poiesis Existencialista

    Graffiti na novela Cheias de Charme: um discurso ‘colorido’ da poiesis existencialista José R. F. Lins Jr. Universidade Estadual Vale do Acaraú (UVA) [email protected] Resumo: O presente artigo objetiva analisar de que forma a grafitagem na novela Cheias de Charme (Rede Globo, 2012) representa a condição de existência de um grupo subalternizado numa favela do Rio de Janeiro. Numa perspectiva mais ampla, de que forma o graffiti revela a condição humana de classes desprivilegiadas nos grandes centros urbanos. Para isso, escolheu-se uma cena que foca o graffiti realizado numa instituição privada da sociedade capitalista. A discussão fundamenta-se nos conceitos de absurdo (Camus, 2008), cultura (Lèvy, 2001), e existencialismo (Kierkegaard, 2001; Arendt, 1997). Discutem-se os valores estéticos, éticos e políticos que constituem a identidade social na pós-modernidade. Palavras-chave: Identidade social; Discurso; Existencialismo; Graffiti Abstract: This article aims to analyze how the graffiti on the Brazilian soap opera Cheias de Charme (Rede Globo, 2012) represents the condition of existence of a group of young artists in a slum in Rio de Janeiro. From a broad- er perspective, it shows how the graffiti reveals the human condition of subaltern classes in large urban centers. We chose a scene that focuses on graffiti held at a private institution of our capitalist society. The discussion is based on the concepts of absurdity (CAMUS, 2008), culture (Levy, 2001) and existentialism (Kierkegaard, 2001, Arendt 1997). It discusses the aesthetic, ethical and political issues that constitute the social identity in a postmodern world. Keywords: Social identity; Discourse; Existentialism, Graffiti Vivo sempre no presente.