Quando o Pato Donald viajou para a América Latina

2014

O presente artigo resulta em pesquisa realizada acerca de uma das muitas facetas de Orson Welles, famoso ator e diretor de Hollywood, cuja carreira eh mais conhecida por seus trabalhos relacionados a setima arte. Welles produziu e apresentou varios programas de radio apos um conjunto de visitas a quase todos os paises da America Latina no inicio dos anos 40, em nome da tal “Politica da Boa Vizinhanca”. O objetivo consiste em apresentar a analise de dois de seus programas de radio – um difundido a partir do Rio de Janeiro, no dia 18 de Abril de 1942, por ocasiao da celebracao do aniversario do Presidente Getulio Vargas – e outro, em novembro do mesmo ano, dos Estados Unidos, como um programa piloto de sua serie de radio, Hello Americans. Alem disso, o desenho animado “Saludos Amigos”, da Disney, produzido em 1943, sera tambem analisado como uma sequencia em virtude da saida de Welles do projeto. Considera-se que o filme de Disney apropriou-se do material resultante das viagens e doc...

"Encouraged by the Roosevelt administration as part of its “Good Neighbor Policy,” Walt Disney Studios produced, between 1942 and 1945, a small flurry of films wholly or partly about Latin America. They included documentaries (The Grain that Built a Hemisphere), educational films designed to promote public health (Planning for Good Eating and Water – Friend or Enemy?), the animated travelogue Saludos Amigos, and its surreal quasi-sequel Three Caballeros. They defined, along with other wartime projects made for the governments of the United States and Canada, the style of “edutainment” filmmaking that became one of Disney’s postwar trademarks. Despite substantial differences in form and content, the films shared a common goal of cross-cultural education. The Grain that Built a Hemisphere, Saludos Amigos, and Three Caballeros were attempts to introduce Latin American culture to North American audiences. The public health films were designed to explain the benefits of North-American-style diet, sanitation, and disease-control practices to Latin American audiences. All reflect Walt Disney’s unshakeable personal belief in the universality of the human experience, which would be made manifest even more clearly in the studio’s “People and Places” featurettes of the 1950s and in the theme park ride “It’s A Small World.” The films provide spectacle, in the form of exotic images and characters, but insist that beneath the exotic surface lies a common humanity that enables mutual understanding. The image of Latin America in Disney’s wartime films thus run counter to that offered in most Hollywood films of the 1930s and early 1940s, which suggested that the exotic Otherness of Latin America did not just lay on the surface, but went straight to its cultural bones. "

https://doi.org/10.33178/alpha.27.03 Published in: Alphaville: Journal of Film and Screen Media. No. 27. 2024. 24–36. In the 1930s, with the rise of fascism and Nazism in Europe, President Franklin Delano Roosevelt believed that the United States would soon need the sympathy and cooperation of Latin America. His Good Neighbor policy sought to improve relations between the countries of the Americas. Walt Disney was commissioned by Nelson D. Rockefeller, who was in charge of inter-American relations, to make a goodwill tour of Latin America in search of inspiration for films about the region. He and his group met with politicians and artists, researched local cultures, and personally experienced the region's society, geography and wildlife. As a result of these experiences, Latin America became the setting for two Disney films in the 1940s, Saludos Amigos (Norman Ferguson, 1942) and The Three Caballeros (Norman Ferguson, 1944). The aim of this article is to describe the key role played by Walt Disney and his cartoon characters (especially Donald Duck) in the transformation of inter-American relations, especially from the aspect of culture.

Bulletin of Latin American Research, 2010

During the Good Neighbor Era of the 1930s and 1940s, the USA sought to normalise relations with Latin America in order to promote hemispheric unity, particularly so after the outbreak of the Second World War, which provoked anxiety about transatlantic trade routes and South American attitudes towards the Axis. An Office of the Coordinator of Inter-American Affairs was established, which in turn set up a Motion Picture Division. The Division pressed for a Latin American specialist to monitor and control representations of Latin America via the Production Code Administration. The attempt to promote positive portrayals of Latin Americans assisted a boom in musical comedies dealing with North Americans visiting their southern neighbours. This article examines an early precursor, Flying Down to Rio (1933), and a full-blown Good Neighbor movie, Down Argentine Way (1940). The article uncovers, behind the optimistic projection of neighbourliness, hidden tensions and deep-rooted anxieties about American identities.

1994

The 1948 release of Rio Escondido was a triumph of the Mexican film industry. It represented the possibilities that seemed in reach of the postwar Mexican film sector: sovereign control of an economically viable, artistically vibrant, nationally dominant, mass-cultural medium capable of producing Mexican stories, myths, and images.

The Americas, 2006

Nuevo Texto Crítico, 1998

By the early 1950s, two distinct political patterns overlapped in Mexico: one global, the Cold War, the other national, the triumph of desarrollo estabilizador (stabilizing development). Each reinforced the other; the Cold War did not shape postwar Mexican development as much as it interacted with the rightist socioeconomic and poUtical model imposed by the ruling one-party regime, which appropriately renamed itself the Partido Revolucionario Institucional (PRI) in 1946. Mass culture reproduced this convergence and was itself decisive in forming the ideological environment that guided the popular poUtics of the period. For Mexico, in the early postwar period, film was arguably the most pervasive form of national mass media. Moreover, it was closely integrated into the structures of power con-troUed by the authoritarian state-party, through the Secretaría de Gobernación's evolving mass-communication bureaucracy, which administered cinema censorship as weU as industrial promotion. As the government of Miguel Alemán (1946-1952) pursued its private-sectororiented agenda at home, reinforced by its deepening transnational pact with the United States, Mexican mass culture reconfigured nationalist discourse to support the rightist triumph within the state party that drew strength from the deepening Cold War. Although Mexican cinema of the early 1950s was an important cultural and commercial counterweight to HoUywood throughout the western hemisphere, it was not a nationaUst film industry artisticaUy or industriaUy. The context for Mexican production was transnational. In terms of commercial development, that context made the Mexican film industry more vulnerable to postwar HoUywood competition than had been the developing prewar movie sector. The logic of U.S.-Mexican relations, established under the political alliance forged during World War II, decreased the Mexican industry's economic and ideological autonomy vis-à-vis the United States and made it increasingly difficult for the Mexican state to intervene to

International Journal of Iberian Studies, 2003

This article examines the broad patterns established by the first sound films produced in Portugal. Against the backdrop of the Salazar regime, it focuses in particular on the socalled 'comédia à portuguesa', a cinematic tradition that proliferated in the 1930s and 1940s. It analyses in detail a paradigmatic example of this tradition, O pátio das cantigas/The Courtyard of Songs (1942). By the 1950s the conventions of these comedy films were hackneyed and yet they continued to be reproduced. This article studies two films from this era, namely Os três da vida airada/The Fun-loving Three (1952) and O cantor e a bailarina/The Singer and the Dancer (1959). Particular attention is paid to how these later examples of the musical comedy borrowed from both Brazilian and Hollywood musicals in order to create a celebration of pan-Lusitanian identity. This article will begin with a brief outline of the first Portuguese talkies, and will make particular reference to the so-called comédia à portuguesa, a cinematic tradition that experienced its greatest success in the 1930s and 1940s. It will focus on the musical comedy entitled O pátio das cantigas/The Courtyard of Songs (1942), in an attempt to illustrate the celluloid vision of Salazar's Portugal that this film and others like it conveyed. Although by the 1950s the tried-and-tested formula of the comédia was beginning to wear thin, film-makers continued to rehash its characteristic features. This article will consider two musical comedies from the 1950s, namely Os três da vida airada/The Fun-loving Three (1952) and O cantor e a bailarina/The Singer and the Dancer (1959), and it will assess to what extent Portuguese popular film was influenced by foreign cinema as the 1950s wore on. Early Portuguese sound cinema, cultural policy in the Salazar era, and the comédia à portuguesa Many of the earliest Portuguese talkies were vehicles for the performance of fado, the national folk music. Portugal's first sound film, A Severa (1931) depicted the life-story of the eponymous legendary fadista or fado singer. Countless Portuguese film-makers would go on to use the nation's folk music and its glamorous performers as the point of departure for their productions. Fado reached the whole of the nation via the radio, and its popularity was reflected on screen in films such as Capas negras/Black Capes, that premiered in 1947 and starred the great fadista Amália Rodrigues. 1 (During his directorship of the Secretariado da Propaganda Nacional [SPN, the Secretariat of National Propaganda] and later the Secretariado Nacional da Informação, Cultura Popular e Turismo [SNI, National Secretariat of Information, Popular Culture and Tourism], António Ferro promoted films that centred on fado, inspired by the Spanish musicals of the Franco era known as españoladas.) Popular comedies 1 In Fado: história de uma cantadeira/Fado: The Story of a Singer (1948) Amália Rodrigues acted out her own life story. This fascination with fado and fadistas endured throughout the 1950s, in films such as Sangue toureiro/Bullfighter Blood (1958), in which Amália also starred, and the trend only died out in the 1970s.

The Americas, 2001