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Universidade De São Paulo Faculdade De Filosofia, Letras E Ciências Humanas UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS MAURICIO FERREIRA FREITAS A fotografia de guerra como documento: Robert Capa e Gerda Taro na Guerra Civil Espanhola (1936-1939) Dissertação de mestrado São Paulo 2018 MAURICIO FERREIRA FREITAS A fotografia de guerra como documento: Robert Capa e Gerda Taro na Guerra Civil Espanhola (1936-1939) Dissertação apresentada à Faculdade de Filosofia, Lestras e Ciências Humanas da Universidade de São Paulo, para a obtenção do título de mestre em História Social. Área de concentração: História Social. Orientador: Prof. Dr. Mauricio Cardoso. São Paulo 2018 À Kelly e Sofia, que travam comigo os combates diários. Agradecimentos Esse trabalho só foi possível pelo apoio de muitas pessoas, em especial a Kelly e Sofia Araujo, que diariamente ouviram, apoiaram e acreditaram que as fotografias podiam ser documentos, e que vêm me ensinado a ouvir, esperar, manter a calma e ser companheiro e pai. Ao Prof. Dr. Mauricio Cardoso que desde o início acreditou que fotografia, história e revolução produziam uma boa mistura, e soube cobrar e criticar aquilo que escrevia. Aos amigos Zé Luís Cabaço e Rita Chaves que desde sempre se interessaram pelo trabalho, e dispuseram jantares, conversas e um escritório ao lado de casa para que eu trabalhasse, escrevesse e tomasse muitos cafés. À Wanda D’Elia e Mariana Freitas que sempre me apoiaram, desde pequeno como mãe e irmã incríveis que são. Ao Durval Ferreira, pai que sempre desejou muito que tudo desse certo. Aos tantos amigos historiadores que sempre estiveram perto, perguntando, sugerindo e querendo saber sobre as tais fotografias. Em especial ao José Carlos Villardaga, João Paulo Pimenta, Marco Cabral e Andrés Reyes, e a Andréa Sleiman, Rosana Gonçalves, Stella Maris Scatena e Renata Del Monaco. Aos companheiros educadores com quem dividi longos planejamentos, seminários, aulas e reuniões pedagógicas no Colégio Equipe. Aos Profs. Dr. Francisco Alambert e Dr. Miguel Palmeira pelas preciosas considerações na banca de qualificação. À Irène Attinger responsável técnica pela biblioteca Roméo Martinez na Maison Européene de la Photographie, em Paris, que permitiu o acesso e a fotocópia integral do livro Death in the making sem o qual essa dissertação não seria possível. Ao Programa de Pós-Graduação em História Social da USP e à CAPES – Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, pela bolsa de mestrado concedida. Capa sabia que não é possível fotografar a guerra, porque ela é em grande medida uma emoção. Mas ele fotografou essa emoção. (...) Sua câmera captava e fazia perdurar a emoção. John Steinbeck Something of her [Taro] will live on: along the memory of her bravery will be her photographs, witness to this bravery and to a truly great talent. Ce soir, July, 28, 1937. RESUMO FREITAS, Mauricio. A fotografia de guerra como documento: Robert Capa e Gerda Taro na Guerra Civil Espanhola (1936-1939). Dissertação (Mestrado em História Social), Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, São Paulo, 2018. 226p. A Guerra Civil Espanhola (1936-1939) foi o primeiro conflito do século XX sistematicamente fotografado, essas imagens produzidas por diversos fotógrafos foram divulgadas através de revistas ilustradas. Essa pesquisa teve como objetivo analisar a fotografia como documento a partir das imagens de Robert Capa e Gerda Taro durante o conflito espanhol e publicadas nas revistas ilustradas Vu, Life e Picture Post e no livro Death in the making, buscando trabalhar as imagens pelos seus aspectos formais, comparando as formas de veiculação e produção de narrativas nas revistas ilustradas produzidas pelos editores e pelos fotógrafos no livro. Por fim, essa comparação busca refletir sobre as fotografias como formas de expressar a experiência da guerra e sobre que tipo de narrativa elas produzem. Palavras-chave: Guerra Civil Espanhola (1936-1939); Revistas ilustradas; Fotografia de guerra; Robert Capa; Gerda Taro. ABSTRACT FREITAS, Mauricio. The war photography as a document: Robert Capa and Gerda Taro in the Spanish Civil War (1936-1939). Dissertação (Mestrado em História Social), Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, São Paulo, 2018. 226 p. The Spanish Civil War (1936-1939) was the first conflict of the twentieth century systematically photographed, these images produced by several photographers were disseminated through illustrated magazines. This research aimed to analyze photography as a document starting for the images produced by Robert Capa and Gerda Taro during the Spanish conflict and published in the illustrated magazines Vu, Life and Picture Post and in the book Death in the making, seeking to work the images by their formal aspects. And comparing their ways to convey and produce of narratives in the illustrated magazines produced by publishers or photographers in the book. Finally, this comparison seeks to reflect on the photographs as ways of expressing the experience of war and on what kind of narrative they produce. Key-words: Spanish Civil War (1936-1939); War photography; Illustrated magazines; Robert Capa; Gerda Taro. SUMÁRIO INTRODUÇÃO..................................................................................................................................................... 1 CAPÍTULO I – DO FRAGMENTO À NARRATIVA..............................................................................25 1. O FOTOJORNALISMO DE GUERRA NA DÉCADA DE 1930.........................................................25 1.1 A INOVAÇÃO TÉCNICA...........................................................................................................................35 1.2 TIPO DE DIFUSÃO DAS IMAGENS .....................................................................................................37 1.3 A HUMANIZAÇÃO DA REPRESENTAÇÃO.......................................................................................39 2. DO SURGIMENTO DA FOTOGRAFIA À FOTOGRAFIA DE GUERRA........................................43 3.1 ORIGENS DO FOTOJORNALISMO DE GUERRA DA DÉCADA DE 1930...............................54 3.2 UMA SÍNTESE DAS CARACTERÍSTICAS: NARRATIVA SOBRE A GUERRA......................61 CAPÍTULO II – DA NARRATIVA DO CLIQUE À EDIÇÃO DA REVISTA..................................69 1. AS REVISTAS VU, PICTURE POST E LIFE E SEUS EDITORES.....................................................69 1.2 A GUERRA CIVIL ESPANHOLA NAS REVISTAS ILUSTRADAS ...............................................77 2.1 DO FRONT À REDAÇÃO .........................................................................................................................81 2.2. AS REPORTAGENS E SUAS NARRATIVAS EDITORIAIS...........................................................87 2.2.1 VU MAGAZINE........................................................................................................................................87 2.2.2 LIFE.............................................................................................................................................................98 2.2.3 PICTURE POST....................................................................................................................................102 CAPÍTULO III – DEATH IN THE MAKING, UMA EXPERIÊNCIA NARRATIVA ..............121 1.1 O LIVRO DEATH IN THE MAKING..................................................................................................121 1.2 A ORGANIZAÇÃO DO LIVRO, EM PALAVRAS E IMAGENS ...................................................135 1.2.1 START......................................................................................................................................................136 1.2.2 THE WAR OF THE MAN ON THE STREET...............................................................................144 1.2.3 AN ARMY IS BORN ............................................................................................................................147 1.2.4 “TOMORROW WE TAKE MADRID” – FRANCO......................................................................149 1.2.5 BUT TOMORROW: NO PASSARAN .............................................................................................152 1.2.6 SPAIN’S WEALTH...............................................................................................................................155 1.2.7 ON THE ROAD TO MÁLAGA ..........................................................................................................156 1.2.8 FRONT IN ANDALUSIA....................................................................................................................157 1.2.9 SAFEGUARDING OF THE ART TREASURES............................................................................158 1.2.10 CATHOLICS OF BILBAO................................................................................................................159 1.2.11. BILBAO: DEATH IN THE MAKING...........................................................................................162 1.2.12. WOMEN IN THE WAR ..................................................................................................................163 1.2.13. SPANISH SHIP POTENKIN..........................................................................................................166 1.2.14 NEW ARMY ON THE WAY...........................................................................................................167 2. AS LINHAS NARRATIVAS DAS FOTOGRAFIAS DE
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