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Mitos ideológicos do Estado Novo nos cartazes da propaganda política
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Advisor(s)
Abstract(s)
O cartaz de propaganda foi um dos meios utilizados pelo Estado Novo para divulgar os seus valores, glorificar a obra do regime e a ação do ditador Oliveira Salazar. Ao mesmo tempo e durante muitos anos, o cartaz foi um meio muito utilizado para transmitir a ideia de um Estado forte e autoritário, garante da ordem e do progresso do país, em alternativa à 1ª República. Sendo o objetivo de Oliveira Salazar reformar o país conforme as suas crenças, considerava que para o atingir, seria necessário antes de mais, reformar o cidadão português investindo na sua doutrinação criando um “homem novo”. Para o efeito, o Estado Novo, usou diversos meios de comunicação, entre os quais, o cartaz de propaganda, visando aspetos económicos, culturais, ideológicos e principalmente políticos baseados num conjunto de mitos, que suportaram o discurso do regime e uma ideia mítica de nação.
No pressuposto de que os textos visuais podem ser lidos com o mesmo rigor e com a mesma recompensa da palavra escrita, procurou-se ao longo da dissertação estudar como o significado, subjacente a cada um dos sete mitos ideológicos identificados pelo historiador Fernando Rosas e apontados como os fundadores do regime estado-novista, foi visualmente construído nas mensagens de um conjunto de cartazes selecionados. Tendo em conta que o Design Visual tem como objetivo comunicar uma mensagem com o propósito de influenciar a maneira como as pessoas pensam, sentem e as decisões que tomam, escolheu-se como tema da dissertação a Propaganda Política do Estado Novo e como objeto de estudo o cartaz de propaganda, dirigido à formação política do povo português, especificamente os que visaram difundir e incutir os sete mitos ideológicos identificados por Fernando Rosas.
Com recurso a estratégias de análise visual crítica das imagens que suportam as mensagens dos cartazes produzidos por cartazistas ao serviço do aparelho propagandístico estado-novista, procurou-se identificar os pressupostos ideológicos subjacentes a cada um desses sete mitos e comprovar que o estudo e análise da Cultura Visual pode contribuir para fornecer e/ou reforçar conhecimentos para a História do Estado Novo.
Privilegiando a multidisciplinaridade, desenvolveu-se uma pesquisa visual, assente em triangulações teóricas, integrando vários domínios do conhecimento no âmbito do Design, da Cultural Visual, da História do Estado Novo, do Cartaz e das Propagandas, e metodológicas, baseadas no método iconológico de Erwin Panofsky, no método semiótico de Charles Sanders Peirce e no conceito barthesiano de mito. Do cruzamento das teorias de Panofsky, de Peirce e Barthes, resultou uma maior consciência analítico-interpretativa na medida em que tornaram a metodologia mais completa e abrangente, permitindo com base nos resultados obtidos concluir que nenhum dos cartazes que compõem a amostra surgiu aleatoriamente. Existiram sempre eventos e ocorrências direta e indiretamente associados à conceção de cada cartaz, razão pela qual, a tarefa de os analisar e interpretar, não se tratou apenas de os descrever, de dizer quando e por quem foram feitos, mas apresentar uma fundamentação baseada em factos justificando a maneira como foram concebidos.
Os resultados revelaram que o mito do novo nacionalismo é o mais frequentado logo seguido do mito palingenético, confirmando que a ideologia subjacente a cada um deles marcou significativamente o discurso do Estado Novo, apresentando a democracia e o liberalismo como as principais causas da decadência do país e com base nisso justificar não só a necessidade de um recomeço nacional, como de um líder com capacidade, determinação e autoridade para comandar a nação. Na terceira posição surge o mito da essência católica da identidade nacional e na quarta surgem, com idêntico peso na amostra, os mitos imperial, da ruralidade e ordem corporativa. O mito da pobreza honrada é o menos frequentado.
Por fim, foi possível concluir que o Design é uma disciplina transversal, podendo ser considerado uma ferramenta suscetível de colaborar com outras áreas do conhecimento, nomeadamente a História e que o campo interdisciplinar, multidisciplinar e transdisciplinar da Cultura Visual fornece uma ampla estratégia geral para entender a produção visual como uma prática social, cultural e política.
The propaganda poster was one of the means used by the Estado Novo to publicize its values, glorify the work of the regime and the actions of the dictator Oliveira Salazar. At the same time and for many years, the poster was a widely used means of conveying the idea of a strong and authoritarian State, guarantor of the country's order and progress, as an alternative to the 1st Republic. As Oliveira Salazar's objective was to reform the country according to his beliefs, he considered that to achieve this, it would be necessary, first of all, to reform the Portuguese citizen by investing in his indoctrination by creating a “new man”. To this end, the Estado Novo used various means of communication, including propaganda posters, targeting economic, cultural, ideological and mainly political aspects based on a set of myths, which supported the regime's discourse and a mythical idea of nation. On the assumption that visual texts can be read with the same rigor and with the same reward as the written word, throughout the dissertation we sought to study how the meaning underlying each of the seven ideological myths identified by historian Fernando Rosas and highlighted like the founders of the Estado-Novista regime, it was visually constructed in the messages of a set of selected posters. Taking into account that Visual Design aims to communicate a message with the purpose of influencing the way people think, feel and the decisions they make, Political Propaganda of the Estado Novo was chosen as the theme of the dissertation and as the object of study the propaganda poster, aimed at the political formation of the Portuguese people, specifically those that aimed to spread and instill the seven ideological myths identified by Fernando Rosas. Using strategies of critical visual analysis of the images that support the messages of the posters produced by posterists in the service of the Estado-Novista propagandistic apparatus, we sought to identify the ideological assumptions underlying each of these seven myths and prove that the study and analysis of Visual culture can contribute to providing and/or reinforcing knowledge for the History of the Estado Novo. Privileging multidisciplinarity, visual research was developed, based on theoretical triangulations integrating various domains of knowledge within the scope of Design, Visual Cultural, History of the Estado Novo, Posters and Advertisements, and methodological ones, based on Erwin's iconological method Panofsky, Charles Sanders Peirce's semiotic method and Barthes's concept of myth. The intersection of the theories of Panofsky, Peirce and Barthes resulted in greater analytical-interpretive awareness as they made the methodology completer and more comprehensive, allowing, based on the results obtained, to conclude that none of the posters that make up the sample arose randomly. There were always events and occurrences directly and indirectly associated with the design of each poster, which is why the task of analyzing and interpreting them was not just about describing them, saying when and by whom they were made, but presenting a rationale based on facts justifying the way they were conceived. The results revealed that the myth of new nationalism is the most frequented, followed by the palingenetic myth, confirming that the ideology underlying each of them significantly marked the discourse of the Estado Novo, presenting democracy and liberalism as the main causes of the country's decadence. and based on this, justify not only the need for a national restart, but also for a leader with the capacity, determination and authority to command the nation. In the third position appears the myth of the Catholic essence of national identity and in the fourth position appear, with identical weight in the sample, the myths of imperiality, rurality and corporate order. The myth of honorable poverty is the least frequented. Finally, it was possible to conclude that design is a transversal discipline and can be considered a tool capable of collaborating with other areas of knowledge, namely History, and that the interdisciplinary, multidisciplinary and transdisciplinary field of Visual Culture provides a broad general strategy to understand visual production as a social, cultural and political practice.
The propaganda poster was one of the means used by the Estado Novo to publicize its values, glorify the work of the regime and the actions of the dictator Oliveira Salazar. At the same time and for many years, the poster was a widely used means of conveying the idea of a strong and authoritarian State, guarantor of the country's order and progress, as an alternative to the 1st Republic. As Oliveira Salazar's objective was to reform the country according to his beliefs, he considered that to achieve this, it would be necessary, first of all, to reform the Portuguese citizen by investing in his indoctrination by creating a “new man”. To this end, the Estado Novo used various means of communication, including propaganda posters, targeting economic, cultural, ideological and mainly political aspects based on a set of myths, which supported the regime's discourse and a mythical idea of nation. On the assumption that visual texts can be read with the same rigor and with the same reward as the written word, throughout the dissertation we sought to study how the meaning underlying each of the seven ideological myths identified by historian Fernando Rosas and highlighted like the founders of the Estado-Novista regime, it was visually constructed in the messages of a set of selected posters. Taking into account that Visual Design aims to communicate a message with the purpose of influencing the way people think, feel and the decisions they make, Political Propaganda of the Estado Novo was chosen as the theme of the dissertation and as the object of study the propaganda poster, aimed at the political formation of the Portuguese people, specifically those that aimed to spread and instill the seven ideological myths identified by Fernando Rosas. Using strategies of critical visual analysis of the images that support the messages of the posters produced by posterists in the service of the Estado-Novista propagandistic apparatus, we sought to identify the ideological assumptions underlying each of these seven myths and prove that the study and analysis of Visual culture can contribute to providing and/or reinforcing knowledge for the History of the Estado Novo. Privileging multidisciplinarity, visual research was developed, based on theoretical triangulations integrating various domains of knowledge within the scope of Design, Visual Cultural, History of the Estado Novo, Posters and Advertisements, and methodological ones, based on Erwin's iconological method Panofsky, Charles Sanders Peirce's semiotic method and Barthes's concept of myth. The intersection of the theories of Panofsky, Peirce and Barthes resulted in greater analytical-interpretive awareness as they made the methodology completer and more comprehensive, allowing, based on the results obtained, to conclude that none of the posters that make up the sample arose randomly. There were always events and occurrences directly and indirectly associated with the design of each poster, which is why the task of analyzing and interpreting them was not just about describing them, saying when and by whom they were made, but presenting a rationale based on facts justifying the way they were conceived. The results revealed that the myth of new nationalism is the most frequented, followed by the palingenetic myth, confirming that the ideology underlying each of them significantly marked the discourse of the Estado Novo, presenting democracy and liberalism as the main causes of the country's decadence. and based on this, justify not only the need for a national restart, but also for a leader with the capacity, determination and authority to command the nation. In the third position appears the myth of the Catholic essence of national identity and in the fourth position appear, with identical weight in the sample, the myths of imperiality, rurality and corporate order. The myth of honorable poverty is the least frequented. Finally, it was possible to conclude that design is a transversal discipline and can be considered a tool capable of collaborating with other areas of knowledge, namely History, and that the interdisciplinary, multidisciplinary and transdisciplinary field of Visual Culture provides a broad general strategy to understand visual production as a social, cultural and political practice.
Description
Keywords
Design Cultura visual Cartaz de propaganda política Estado Novo Mitos fundadores do regime