Carmen Miranda: the alternative history of the Brazilian Bombshell
Article Sidebar
Main Article Content
Abstract
Carmen Miranda is still one of Brazil’s greatest musical and aesthetic icons. The artist stood out for her non-conformist attitude and aesthetic towards the prevailing aesthetic at the time of her artistic peak. In this article, we intend to focus on two key topics, namely the use of Do-It-Yourself (DIY) in her artistic creations, but we also intend to apply to her trajectory the counterfactual/alternative history, i.e., we intend to undertake a “what if…” analysis in relation to a set of historical events that marked her trajectory, emphasizing, thus, the creation and dissemination of her platform shoes, while we intend to highlight her contribution to the international footwear fashion.
Downloads
Article Details
This work is licensed under a Creative Commons Attribution 4.0 International License.
This is an open-access journal under the CC-BY license
References
Atkinson, J. 2019. Fashion as Identity in Steampunk Communities, P Hunt-Hurst and S Ramsamy-Iranah (Ed.)Fashion and Its Multi-Cultural Facets. (E-Book: Brill), pp 123–137. DOI: 10.1163/9781848883093_012
Kretz, G. and Valck, K. 2010. “Pixelize me!”: Digital storytelling and the creation of archetypal myths through explicit and implicitself-brand association in fashion and luxury blogs, Belk, R.W. (Ed.) Research in Consumer Behavior (Research in Consumer Behavior, v. 12), London: Emerald Group Publishing Limited), pp 313–329.
Kozinets, R. 2020. Netnography. The Essential Guide to Qualitative Social Media Research. London: SAGE Publications Ltd.
Garcia, T. Da C. 2017. Carmen Miranda e os good neighbours. Diálogos, DHI/UEM, v. 7. pp. 37–46. (Edition in pdf format. 2003. CARMEN MIRANDA E OS GOOD NEIGHBOURS).
Castro, Ruy. 2005. Carmen: uma biografia. São Paulo: Companhia das Letras.
Foran. R. E. 2015. Commodification and Exploitation of the Brazilian bombshell Carmen Miranda. The Western States theatre Review, v. 21, pp. 23–30. https://cedar.wwu.edu/wstr/vol21/iss1/1/ (Acessed 3 May 2023).
Bennett, A. and Peterson, R. 2004. Music Scenes. Local, Translocal, and Virtual. Nashville: Nashville University Press.
Bennett, A. and Guerra, P. 2018. DIY Cultures and Underground Music Scenes. New York: Routledge.
Guerra, P. and Straw, W. 2017. I wanna be your punk: o universo de possíveis do punk, do D.I.Y. e das culturas underground. Cadernos de Arte e Antropologia, v. 6, I. 1 pp. 5–16. DOI: 10.4000/cadernosaa.1189
Shaw, L. 2013. Carmen Miranda. London: Palgrave Macmillan.
Mahoney, J. and Barrenechea, R. 2017. The logic of counterfactual analysis in case-study explanation. The British Journal of Sociology, v. 70 I. 1, pp. 306–338. DOI:10.1111/1468-4446.12340
Tetlock, P. E. and Belkin, A. (Ed.) 1996. Counterfactual Thought Experiments in World Politics: Logical, Methodological, and Psychological Perspective. Princeton: Princeton University Press.
Harvey, F. 2015. “What If” History Matters?Comparative Counterfactual Analysis and Policy Relevance. Security Studies, v. 24 I. 3, pp. 413–424. DOI: 10.1080/09636412.2015.1070606
Bunzl, M. 2013. Counterfactual History: A User’s Guide. Forum Essay, v. 11 pp. 39–47.
Mordhorst, M. 2008. From counterfactual history to counternarrative history. Management & Organizational History, v. 3 I. 1 pp. 5–26. DOI: 10.1177/1744935908090995
Guerra, P. 2021. So close yet so far: DIY cultures in Portugal and Brazil. Cultural Trends, v. 30 I. 2 pp. 122–138. DOI: 10.1080/09548963.2021.1877085
Guerra, P. 2018. Raw Power: Punk, DIY and Underground Cultures as Spaces of Resistance in Contemporary Portugal.Cultural Sociology, v. 12 I. 2. DOI: 10.1177/1749975518770353
Chidgey, R. 2014. Developing communitiesof Resistance? Maker Pedagogies, Do-It-Yourself Feminism, and DIY Citizenship.DIY Citizenship. Critical Making and Social Media. Eds. Ratto M. Boler and M. Deibert Ratto. Cambridge, MA: MIT Press, pp. 101–113.
Beserra, B. 2007. Sob a sombra de Carmen Miranda e do carnaval: brasileiras em Los Angeles. Cadernos pagu, I. 28, pp. 313–344. https://periodicos.sbu.unicamp.br/ojs/index.php/cadpagu/article/view/8644808 (Acessed 3 May 2023).
Roberts, S. 1993. “The Lady in the tutti-frutti Hat”: Carmen Miranda, a Spectacle of Ethnicity Cinema Journal, v. 32, I. 3, pp. 3–23. DOI: 10.2307/1225876
Sant’Anna, M. R. and Macedo, K. B. 2013. Imagens de América Latina no figurino e corpo da baiana de Carmen Miranda: memória social e identidade. Comunicação e Sociedade, v. 24, p. 161–185. DOI: 10.17231/comsoc.24(2013).1782
Tierney, T. 1982. Carmen Miranda. Paper Dolls in Full Color. Mineola: Dover Publications.
Morais, N. C. & Irschlinger, F. A. 2012. Moda, Mulher e Sociedade Brasileira (1920–1940). Akrópolis, v. 20, I. 3, 141–149. https://ojs.revistasunipar.com.br/index.php/akropolis/article/view/4868 (Acessed 29 May 2023).
Parris, K. 1987. Carmen Miranda’s Navel. New Series, v. 9, I. 3, 71–77. https://www.jstor.org/stable/4335838 (Acessed 3 May 2023).
Schemes, C. & Araujo, D. C. 2011. O artista gráfico Alceu Penna na Revista O Cruzeiro: apropriações e ressignificações da moda
europeia e a representação da mulher (1940–1950) Cultura Visual, v. 1, I. 15, 57–69. https://periodicos.ufba.br/index.php/rcvisual/article/view/5004/3927 (Acessed 28 April 2023).
Shaw, L. 2010. The celebritisation of Carmen Miranda in New York, 1939–41. Celebrity Studies, v.1, I. 3, 286–302. DOI: 10.1080/19392397.2010.511138
Kerber, A. 2005. Carmen Miranda entre representações da identidade nacional e de identidades regionais. ArtCultura, v. 7, I. 10, 121–132. https://www.researchgate.net/publication/277187035_Carmen_Miranda_entre_representacoes_da_identidade_nacional_e_de_identidades_regionais (Acessed 23 April 2023).
Faé, R. 2013. O discurso desenvolvimentista no segundo governo de Getúlio Vargas. Revista Pensamento Contemporâneo em Administração, v. 7, I. 2, 1–18. https://periodicos.uff.br/pca/article/view/11125 (Acessed 23 April 2023).
Lima, G. 2013. Carmen Miranda, o Estado Novo e o discurso verdadeiro. Fragmentum, v. 36, 24–36. https://periodicos.ufsm.br/fragmentum/article/view/9783/pdf (Acessed 29 May 2023).
Macedo, K. B. 2020. A imagem de Carmen Miranda como representação da brasilidade: questionamentos de interpretações a partir de seus filmes na Boa vizinhança. ModaPalavra, v. 13, I. 28, 275–296. DOI: 10.5965/1982615x13272020257
Embacher, A. 2004. Moda e identidade. A construção de um estilo próprio. São Paulo: Anhembri Morumbi.
Pontin, P. K.; Waismann, M. & Bem, J. S. 2022. A moda e a memória: dos brechós ao estilo DIY como construção de identidade. d[o]bras, v. 35, 171–182. DOI:10.26563/dobras.i35.1385
Guerra, P. 2022. Teenagers From Outer Space. Contributos para uma genealogia dos fios que teceram a moda e o do-it-yourself em Portugal. dObra[s], v. 34, 20–63. DOI:10.26563/dobras.i34.1470.
Guedes, R. C. & Teixeira, E. L. 2010. A moda no pós-guerra no ano de 1947: o exemplo dos ícones Eva Perón e Carmen Miranda. XIV Encontro Nacional da ANPUH-RIO. Memória e Património, Rio de Janeiro. http://www.encontro2010.rj.anpuh.org/resources/anais/8/1272245131_ARQUIVO_artigomoda.pdf (Acessed 29 May 2023).
Ribeiro, A. M. (S/A). Carmen Miranda. https://anabelamotaribeiro.pt/63541.html
Nasser, D. 1989. A Vida Trepidante de Carmen Miranda. Rio de Janeiro: Record.
Velloso, C. T.; Abdalla, G. C. & Perassi, R. 2020. Behaviorismo vernacular e os tamancos de Carmen Miranda. Triades, v. 9, I. 1, 63–73. https://triades.emnuvens.com.br/triades/article/view/268 (Acessed 23 April 2023).
Guerra, P. & Bonadio, M. C. 2022. Moda, do-it-yourself e culturas globais digitais. dObra[s], v. 34, 9–18. DOI: 10.26563/dobras.i34.1469.