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| A Noite | |
|---|---|
| Name | A Noite |
| Type | Daily newspaper |
| Format | Broadsheet |
| Founded | 1911 |
| Ceased publication | 1957 |
| Headquarters | Rio de Janeiro, Brazil |
| Language | Portuguese |
| Founder | Irineu Marinho |
A Noite was a Brazilian daily newspaper founded in 1911 in Rio de Janeiro that became a leading voice in early 20th‑century Brazilian journalism. It played a formative role in the circulation of news across Rio de Janeiro (city), interacted with major political figures and cultural movements such as Getúlio Vargas, Artur Bernardes, Tenente revolts, and the Modern Art Week (1922), and contributed to debates involving institutions like the Federal District (Brazil, 1891–1960) administrations and the Brazilian Academy of Letters. The paper's trajectory intersected with publishing houses, theatrical networks, and radio groups, linking it to entities like Diários Associados, Grupo Globo, and the Vargas Era media environment.
A Noite emerged in the context of urban expansion in Rio de Janeiro (city), founded by Irineu Marinho amid competition from titles such as O Globo (Rio de Janeiro), Correio da Manhã (Rio de Janeiro), Jornal do Brasil, and Gazeta de Notícias. During the First World War and the Spanish flu pandemic of 1918–1920, the paper expanded its newsrooms and distribution, engaging with debates around the Tenentismo movement and the 1922 Modern Art Week. Under editors who engaged with figures like Washington Luís, Arthur Bernardes, and later Getúlio Vargas, A Noite adapted to censorship and press law changes, including measures enacted during the Estado Novo. Its later decades saw consolidation pressures as media groups such as Diários Associados and Organizações Globo reshaped Brazilian press markets, culminating in suspension of publication mid‑century.
A Noite published evening editions in a broadsheet layout, combining headlines, serialized fiction, feuilletons, and illustrated reportage similar to contemporaries O Cruzeiro (magazine), Revista do Brasil, and Ilustração Brasileira. The newspaper employed linotype composition, photographic halftone plates, and printing presses comparable to those used by Diários Associados affiliates and other mass‑market publishers. Editions featured beats covering city hall affairs in the Palácio Pedro Ernesto, legislative sessions in the National Congress of Brazil, police reporting tied to the Civil Police (Brazil), and cultural pages addressing theater companies like Companhia Brasileira de Comédia and musical premieres at venues such as Municipal Theatre of Rio de Janeiro.
Initially founded by Irineu Marinho, the paper's ownership history involved family holdings and later negotiations with larger conglomerates, reflecting dynamics similar to acquisitions by Unidad Editorial‑style groups and the consolidation seen with Diários Associados. Corporate relationships tied A Noite to advertising agencies, printing cooperatives, and distribution partners operating in ports like Port of Rio de Janeiro and rail hubs linked to the Central do Brasil (railway station). Board members and investors often had connections to financial houses and industrialists who also participated in entities like Companhia Siderúrgica Nacional and commerce chambers such as the Commercial Association of Rio de Janeiro.
Editorially, A Noite oscillated between populist urban reportage and alignment with political coalitions during the Vargas Era and the interwar republic, engaging in polemics with rivals such as O Estado de S. Paulo and Folha da Manhã. The paper faced controversies over alleged partisan bias during presidential campaigns involving Getúlio Vargas and Jânio Quadros, episodes of censorship under the Estado Novo, and disputes over press ethics that drew responses from institutions like the Brazilian Press Association (Associação Brasileira de Imprensa). Legal battles over libel and labor disputes mirrored wider press sector conflicts involving unions akin to the Sindicato dos Jornalistas Profissionais do Município do Rio de Janeiro.
At its peak, A Noite achieved substantial evening circulation in urban bairros such as Copacabana, Lapa, and Centro (Rio de Janeiro), relying on newsstand networks, street vendors, and subscriptions serviced by tram and train routes connecting to the Santa Cruz (neighborhood) periphery. Circulation metrics were compared in contemporaneous audits with newspapers like Jornal do Brasil and O Globo, and advertisers from banks such as Banco do Brasil and industrial brands used the paper to reach urban consumers. Economic fluctuations, competition, and shifts toward radio audiences such as listeners of Radio Mayrink Veiga affected sales volumes.
Although A Noite ceased regular print publication before the digital age, its archives later became sources for digitization projects, newspaper repositories, and research by institutions like the National Library of Brazil and university libraries at Federal University of Rio de Janeiro. Historical front pages and photographic collections entered multimedia exhibitions alongside holdings from Instituto Moreira Salles and documentary projects on broadcasting history that reference programs from Radio Nacional (Brazil). Digitized runs have enabled searchability for historians studying interactions with events such as the 1950 World Cup and municipal elections.
Contributors included reporters, editors, and cultural critics who later worked across Brazilian media: journalists who moved among outlets such as O Globo, Jornal do Brasil, and Revista Manchete; literary contributors connected to the Modernist movement and figures who associated with the Brazilian Academy of Letters; and photographers whose work paralleled collections at the Museu da Imagem e do Som (Rio de Janeiro). Names that circulated in association with the paper intersected with political figures, intellectuals, and artists who also engaged with institutions like the Ministry of Education and Health (Brazil) and cultural centers such as the Teatro Municipal (Rio de Janeiro).
Category:Newspapers published in Brazil Category:Defunct newspapers