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| Realidade magazine | |
|---|---|
| Title | Realidade |
| Country | Brazil |
| Language | Portuguese |
Realidade magazine was a Brazilian illustrated periodical noted for its investigative journalism, literary reportage, and photojournalism during the 1960s and 1970s. It published long-form narratives, documented social conflicts, and showcased photographers and writers linked to major Brazilian and international cultural institutions. The magazine intersected with contemporaneous publications, intellectual circles, and cultural debates across Latin America and Europe.
Realidade operated at the crossroads of Brazilian cultural movements and global currents, aligning with figures associated with Tropicália, Bossa Nova, Cinema Novo, Semana de Arte Moderna, and institutions like the Instituto de Arte Contemporânea and Universidade de São Paulo. Its pages featured reportage resonant with investigations undertaken by journalists connected to Folha de S.Paulo, O Estado de S. Paulo, and magazines such as Manchete and Veja. Contributors often engaged with themes explored by writers affiliated with Editora Abril, Editora Globo, and literary circles around Jorge Amado, Clarice Lispector, Graciliano Ramos, and Carlos Drummond de Andrade.
The magazine emerged amid the cultural and political upheavals following the 1964 Brazilian coup d'état and paralleled shifts seen in publications reacting to events like the 1968 protests in France, the Prague Spring, and movements in Argentina and Chile. Its founding and editorial decisions occurred in dialogue with journalists and editors who had worked at O Cruzeiro and Diário Popular. Publication schedules and format changes mirrored pressures comparable to those experienced by LIFE (magazine), Paris Match, and Der Spiegel, and its lifespan intersected with legislation and censorship practices influenced by executive actions in Brasília and comparable measures seen in Portugal under the Estado Novo (Portugal). Printing, distribution, and economic constraints connected it to printers serving outlets like Jornal do Brasil and book series from Companhia das Letras.
The editorial line combined narrative nonfiction akin to techniques used by practitioners associated with New Journalism, and literary reportage reminiscent of works by Gunnar Myrdal, Truman Capote, and Ryszard Kapuściński. Contributors included journalists, novelists, poets, and photographers who had ties to universities such as Universidade Estadual de Campinas, cultural centers like the Museu de Arte de São Paulo, and publishing houses such as Editora Perspectiva. Writers and photographers who contributed had networks overlapping with figures connected to Música Popular Brasileira, the Academia Brasileira de Letras, and cultural critics writing for Jornal do Brasil and O Estado de S. Paulo.
Content ranged from investigative series on urban issues and labor conditions connected to unions like those interacting with Central Única dos Trabalhadores to photo-essays that paralleled projects by photographers working with Magnum Photos and agencies such as Agence France-Presse. Notable issues featured extended reportage on events and personalities linked to the histories of São Paulo, Rio de Janeiro, Amazonas (state), and episodes comparable to coverage of São Paulo Medical School controversies, cultural festivals like Festival de Parintins, and portrayals of figures reminiscent of Pelé, Garrincha, Getúlio Vargas, and intellectuals associated with Universidade Federal do Rio de Janeiro.
The magazine's reception intersected with debates in academic departments at Universidade de Brasília and criticism in outlets like Revista Brasileira de Ciências Sociais and literary reviews connected to Fundação Getulio Vargas. Its influence extended to younger journalists trained in newsrooms at Folha de S.Paulo and to documentary filmmakers influenced by Cinema Novo directors such as Glauber Rocha and by filmmakers showcased at the Festival de Cinema de Brasília. Internationally, parallels were drawn with reportage traditions from The New Yorker, Esquire, and The Atlantic.
Design combined typographic experiments comparable to layouts produced by art directors working for Harper's Bazaar and Vogue (magazine), and photo editing that reflected standards practiced by staff at Magnum Photos and picture desks at Life (magazine). The visual approach featured photographers and illustrators whose work resonated with exhibitions at institutions like the Museu de Arte Moderna do Rio de Janeiro and design movements linked to studios collaborating with Banco do Brasil Cultural Center and advertising houses serving clients including Petrobras and Banco do Brasil.
Archives of the magazine are preserved in libraries and special collections with holdings comparable to those at the Biblioteca Nacional do Brasil, university archives at Universidade de São Paulo and Universidade Estadual de Campinas, and media collections curated by cultural institutes such as the Instituto Moreira Salles. Researchers trace its legacy in studies published by presses like Editora da Universidade de São Paulo and citations in theses at Universidade Federal do Rio de Janeiro and Universidade Federal de Minas Gerais. Its materials are consulted alongside collections relating to Brazilian military dictatorship studies, photographic archives from Magnum Photos affiliates, and periodical histories held at the Arquivo Nacional (Brazil).
Category:Brazilian magazines