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Title Fashioning Brazil: Globalization and The Title Fashioning Brazil: Globalization and the Representation of Brazilian Dress in National Geographic Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/12111/ Dat e 2 0 1 6 Citation Kutesko, Elizabeth (2016) Fashioning Brazil: Globalization and the Representation of Brazilian Dress in National Geographic. PhD thesis, Courtauld Institute of Art. Cr e a to rs Kutesko, Elizabeth Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Fashioning Brazil: Globalisation and the Representation of Brazilian Dress in National Geographic (Two Volumes) Elizabeth Kutesko Doctor of Philosophy in the History of Art The Courtauld Institute of Art, University of London 1 Abstract As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. Photographs since National Geographic’s centenary edition in September 1988 have traced the beginnings of a different view of encounters within the United States-Brazil contact zone, driven by the forces of globalisation, which have resisted the processes of objectification, appropriation and stereotyping frequently associated with the rectangular yellow border. This is because they have provided evidence of a fluid and various population, which has selected and experimented with preferred elements of American and European dress, and used it to fashion their own, distinctly Brazilian identities. This thesis will examine both the visual and textual strategies that National Geographic and National Geographic Brasil (the Portuguese-language version of the magazine, established in Sao Paulo in May 2000) have used to fashion Brazil, but also the extent to which Brazilian subjects can be seen to have self-fashioned, through the strategic appropriation of clothing and ideas derived from an existing and dominant global culture. It will approach dress not simply as cloth but as a system of communication, whose many meanings are not fixed but continually informed and to an extent, even performed, by its visual, material, and textual representation. This thesis employs a multidisciplinary mode of analysis that draws on five Brazilian scholars, each of whom have used dress and fashion metaphors in their writings, which have encompassed poetry, film studies, poststructuralist theory, literary criticism and anthropology. 2 Table of Contents VOLUME I Title Page p. 1 Abstract p. 2 Table of Contents pp. 3-5 List of Figures pp. 6-22 Acknowledgements p. 23 Introduction. National Geographic as a Contact Zone. pp. 25- 61 ‘L’Origami du Monde’: Making Contact with National Geographic pp. 30-35 National Geographic as a Contact Zone pp. 35-37 Re-addressing Previous Academic Contact with National Geographic pp. 37-40 A Phenomenology of Contact Through Dress and the Photographic Object pp. 41-44 The Global Contact Zone since 1988 pp. 44-47 Snapshots of the Contact Zone pp. 47-49 Brazilian Auto-Ethnography and Structure of Chapters pp. 50-54 Entering the Contact Zone: A Comment on Methodology and My Auto-Ethnography pp. 54-60 Research Questions pp. 60-61 Part One. Chapter 1. Anthropophagy: the First Hundred Years of Brazilian Dress in National Geographic. pp. • Snapshot 1: The Maku Woman’s ‘Old Piece of Cloth’, April 1926. • Snapshot 2: Paulista Women’s White Sportswear, October 1942. • Snapshot 3: The Cinta Larga Women’s Black Body Paint and Beaded Necklaces, September 1971. The Representation of Brazil in National Geographic Over One Hundred Years pp. 62-64 An Ethnographic Gaze on the Maku in an Age of Pan-Americanism pp. 64-67 Snapshot 1: The Maku Woman’s ‘Old Piece of Cloth’ pp. 68-77 A Documentary Gaze on Sao Paulo during World War Two pp. 77-83 Snapshot 2: Paulista Women’s White Sportswear pp. 83-88 An Ethnographic Gaze on the Cinta Largas during the Military Regime pp. 88-91 Snapshot 3: The Cinta Larga Women’s Black Body Paint and Beaded Necklaces pp. 92-102 3 Chapter 2. Aesthetics of Garbage: Globalisation and the Representation of Brazilian Dress in National Geographic since 1988. pp. 103-143 • Snapshot 4: Djaui’s Red T-shirt and Adidas Shorts, December 1988. • Snapshot 5: The Afro-Brazilian Woman’s Lycra Top and Denim Jeans, August 2002. The Representation of Brazil in National Geographic since 1988 pp. 109-110 Beyond the Yellow Border: A Heightened Phenomenology of Contact pp. 110-117 An Ethnographic Gaze on the Urueu-Wau-Wau in 1988 pp. 117-123 Snapshot 4: Djaui’s Red T-shirt and Adidas Shorts pp. 123-130 A Documentary Gaze on Afro-Brazilian Subjects in 2002 pp. 130-136 Snapshot 5: The Afro-Brazilian Woman’s Lycra Top and Denim Jeans pp. 136-143 Chapter 3. Space In-Between: Brazilian Fashion in National Geographic since 2001. pp. 144-186 • Snapshot 6: The Yanomami Boy’s Gaze at the National Geographic Photographer’s Clothing, September 2001. • Snapshot 7: Bianca Marque’s Bikinis and Victor Denzk’s Dresses, September 2011. National Geographic Fashion: In-Between Exotic Spectacle and Critical Recognition pp. 144-163 Snapshot 6: The Yanomami Boy’s Gaze at the National Geographic Photographer’s Clothing pp. 163-163 A Fashionable Gaze on Brazilian Women in 2011 pp. 166-172 Snapshot 7a: Bianca Marque’s Bikinis in the Magazine pp. 172-177 Snapshot 7b: Victor Denzk’s Dresses on the Website pp. 178-186 Part Two: Holding up a mirror to National Geographic. pp. 187-189 Chapter 4. Misplaced Ideas: Brazilian dress as reflected in the first ten years of National Geographic Brasil. pp. 190-226 • Snapshot 8: The Mayongong Man’s Rawhide Bag and Cotton Loincloth, July 2000. • Snapshot 9: Lourenço Loy’s Red and White Bandana and Gold Medallion, February 2001. • Snapshot 10: The Japanese-Brazilian Women’s Cotton Yucata and Wooden Geta, June 2008. The Representation of Brazil in National Geographic Brasil Over A Decade pp. 198-200 4 A Brazilian Gaze on National Geographic in 2000 pp. 200-203 Snapshot 8: The Mayongong Man’s Rawhide Bag and Cotton Loincloth pp. 203-206 A Documentary Gaze on Angolan-Brazilians in 2003 pp. 206-209 Snapshot 9: Lourenço Loy’s Red and White Bandana and Gold Medallion pp. 210-216 A Portraiture Gaze on Japanese-Brazilians in 2007 pp. 216-218 Snapshot 10: The Japanese-Brazilian Women’s Cotton Yucata and Wooden Geta pp. 219-226 Chapter 5. Mundialization: Brazilian dress in National Geographic Brasil, August 2013. pp. 227-258 • Snapshot 11: The Guarani-Kaiowa’s Western-style dress and Feathered Headdresses, August 2013. An Ethnographic Gaze on the Guarani-Kaiowa in 2013 pp. 233-236 Snapshot 11a: Magazine pp. 236-245 Snapshot 11b: iPad pp. 246-250 Snapshot 11c: Film pp. 250-258 Conclusion pp. 259-280 VOLUME II Figures pp. 281-349 Archives and Museum Collections pp. 350-370 Bibliography pp. 371-393 List of Appendices p. 394 Appendices pp. 395-588 5 List of Figures Introduction Fig. 1.0 Author assembling Cyprien Gaillard, ‘L’Origami du Monde’, in the article ‘Happy Birthday, National Geographic’, 032c, Autumn/Winter 2013/14, front cover. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.1 Author assembling Cyprien Gaillard, ‘L’Origami du Monde’, in the article ‘Happy Birthday, National Geographic’, 032c, Autumn/Winter 2013/14, pp. 158-159. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.2 Author assembling Cyprien Gaillard, ‘L’Origami du Monde’, in the article ‘Happy Birthday, National Geographic’, 032c, Autumn/Winter 2013/14, pp. 160-161. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.3 Author assembling Cyprien Gaillard, ‘L’Origami du Monde’, in the article ‘Happy Birthday, National Geographic’, 032c, Autumn/Winter 2013/14, pp. 160-163. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.4 Author assembling Cyprien Gaillard, ‘L’Origami du Monde’, in the article ‘Happy Birthday, National Geographic’, 032c, Autumn/Winter 2013/14, pp. 160-165. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.5 Author assembling Cyprien Gaillard, ‘L’Origami du Monde’, in the article ‘Happy Birthday, National Geographic’, 032c, Autumn/Winter 2013/14, pp. 160-166. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.6 Author assembling Cyprien Gaillard, ‘L’Origami du Monde’, in the article ‘Happy Birthday, National Geographic’, 032c, Autumn/Winter 2013/14, pp. 160-167. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.7 Cyprien Gaillard, Pop-Up Artwork, ‘L’Origami du Monde’, 2013/4. (Image: photograph taken by Jonathan Vickers, London, March 2014) Fig. 1.8 Brent Stirton, National Geographic, October 2013, pp. 34-35. (Image: photograph taken by author, London, March 2014) Fig. 1.9 Steve McCurry, Ed Kashi, National Geographic, October 2013, pp. 36-37. (Image: photograph taken by author, London, March 2014) Fig. 1.10 Stephanie Sinclair, National Geographic, October 2013, pp. 76-77. (Image: photograph taken by author, London, March 2014) Fig. 1.11 Steve McCurry, William Albert Allard, National Geographic, October 2013, pp.
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