Ana Luiza Cerbino

A modernidade gráfica da revista <i>Sombra</i>

Introduction

A modernidade gráfica da revista <i>sombra</i>. Descubra a modernidade gráfica da revista Sombra (1940-1960) no Rio de Janeiro. Análise visual de moda, cinema e artes que definiu o "ser moderno" da capital.

Abstract

A revista Sombra, editada entre 1940 e 1960, na cidade do Rio de Janeiro, apresenta em suas páginas uma narrativa visual amparada por uma arrojada linguagem gráfica, apresentando ao leitor o que, naquele momento, significava ser moderno. Moda, cinema, artes plásticas, teatro, balé surgem nas páginas da revista, mostrando uma correspondência com a então capital do Brasil, que se pretendia cosmopolita e moderna.

Review

The article "A modernidade gráfica da revista *Sombra*" proposes a compelling exploration into the visual culture of Brazil during a pivotal period. By focusing on *Sombra* magazine, published in Rio de Janeiro between 1940 and 1960, the study positions this periodical as a crucial document reflecting and shaping the concept of modernity. The abstract effectively sets the stage, highlighting how *Sombra*'s "bold graphic language" served as a visual narrative defining what it meant to be modern for its contemporary readership. This research holds significant promise for contributing to our understanding of design history, cultural studies, and the evolution of urban identity in Brazil. The emphasis on *Sombra*'s interdisciplinary content – encompassing fashion, cinema, visual arts, theater, and ballet – strongly connects the magazine to Rio de Janeiro's aspirations as a cosmopolitan capital. Analyzing how these diverse cultural expressions were visually articulated through the magazine's graphic design offers a rich lens through which to examine the materialization of a specifically Brazilian modernity in the mid-20th century. The focus on *graphic* modernity, rather than just content, is a particular strength. To further enrich this insightful premise, the study could benefit from a more detailed elaboration on the specific characteristics of *Sombra*'s "bold graphic language." For instance, an analysis of its typography, layout innovations, photographic techniques, or use of illustration would provide concrete evidence for its claims of modernity. Additionally, exploring the potential influences on *Sombra*'s visual style, whether from contemporary international trends or local Brazilian design movements, could offer valuable context. Consideration of the magazine's readership and the impact of its visual modernity on their understanding and consumption of culture would also deepen the article's contribution. Overall, this is a well-conceived and relevant piece of research.

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