[pt] Esta dissertação tem como propósito apresentar as fotografias de Alice Brill e sua relação com a trajetória pessoal da fotógrafa. O ponto de encontro entre as fotografias que ela produz e sua vida é o exílio, que transforma sua compreensão sobre o mundo a sua volta. Alice Brill nasceu na Alemanha em 1920 e residiu em Hamburgo até 1934, quando foi obrigada a deixar o país por causa de sua origem judaica. Neste período de exílio, ela percorreu um longo caminho até seu destino final, o Brasil. Está trajetória transformou o olhar de Brill e sua adaptação na cidade de São Paulo foi auxiliada pela sua arte. Dessa forma a artista expressou as dissonâncias que estava vivendo. Dentre sua vasta obra está a fotografia, que ela construiu ao longo da década de 50, apresentando um olhar distinto sobre as escolhas dos temas fotografados. Dentre os conjuntos que Brill construiu, as fotografias do hospital do juquery feitas em 1950 são importantes por diversos aspectos, pelo valor documental e artístico. / [en] The purpose of this dissertation is to present Alice Brill s photographs as well as their relationship with her personal life. The meeting point between her photographs and personal life is exile, which changes her understanding of the world. Alice Brill was born in Germany in 1920 and she has lived in Hamburg until 1934, when she was forced to leave her country due to her Jewish background. While in exile, she has traveled a long journey until her final destination, Brazil. These life experiences transformed Brill s gaze and her settlement in the city of São Paulo was facilitated by her art. In this way the artist expressed the dissonances she was experiencing. Among her vast work is photography, which she has built throughout the 1950s, presenting a distinct look to the subjects of her photography. Among the sets that Brill built, the photographs of the Juquery Hospital made in 1950 are important for several aspects, especially for their documentary and artistic value.

In this thesis I consider the influence of Alice Brill's transnational background on her photographs of 1950s São Paulo. Brill was born in 1920 to a Jewish-German family. In 1934 she immigrated to São Paulo where she involved herself in local artistic circles. From 1946-47 she received a grant to study at the University of New Mexico and with the Art Students League in New York. Brill learned photography during her time in the United States, hoping to create documentary photo-essays in Brazil which she could send to American illustrated magazines. None of Brillss works were published in the United States, however, on returning to São Paulo in 1948 Brill was invited by Pietro Maria Bardi, Director of the Museu de Arte de São Paulo Assis Chateaubriand, to "record the daily life of the citizens of São Paulo". Bardi intended the photographs to be published as an homage to the city's 400th anniversary, but lacked sufficient funding to complete the volume. Brill's images of São Paulo depict the metropolis in a way unique during the period: as a space shared by multi-racial communities. While many photographers and publications metaphorically white-washed the city by depicting only its most Europeanized attributes, Brill consciously sought out underrepresented groups, specifically the burgeoning Afro-Brazilian community. Brill's point of view was shaped by her international upbringing and training: her experience as an outsider compelled her to document other outsider communities in São Paulo. She recognized the traditions of representation already in place in Brazil and manipulated familiar types in order to represent the nation's true hybridity. Influences on her work include: the long history of part-artistic, part-anthropological studies of the Brazilian people; local photographic traditions for picturing the city and its inhabitants; the European photojournalist style introduced to Brazil in 1944; and the international sensibility of Brill's patrons, the Bardis. I attempt to show how Brill balanced these considerations with her own personal understanding of Brazil as a multivalent space.

O objetivo desta tese de doutorado é discutir se há um olhar judaico expresso em fotografias, produzidas no Brasil, por autores com ligações com o Judaísmo, e como ele se manifesta. A hipótese da pesquisa é que ele existe, mas, sem poder ser caracterizado por uma regra geral, deve ser encontrado na análise de casos singulares, considerando, por exemplo, como a estrangeridade dos autores se reflete em suas imagens. Para confirmar essa suposição, serão apresentadas a vida e interpretadas as obras de cinco fotógrafos, nascidos na Alemanha, exilados no Brasil em razão da ascensão do nazifascismo; quatro deles são judeus Alice Brill, Werner Haberkorn, Hans Gunter Flieg e Peter Scheier e uma casou-se com um judeu Hildegard Rosenthal. Todos registraram a cidade de São Paulo, sendo essas imagens o foco da análise, exceto no caso de Flieg, cujas fotos a serem estudadas serão as industriais, pois são as mais importantes de sua produção. Esses autores, de identidade híbrida, expressaram um olhar estrangeiro à realidade que retrataram, utilizando estilos modernos importados da Europa, tais como a Nova Visão, a Nova Objetividade e a Estética da Máquina, contribuindo, assim, enormemente, para inovar a fotografia brasileira. / The purpose of this doctoral thesis is to discuss whether there is a Jewish view expressed in photographs, produced in Brazil, by authors with links to Judaism, and how it manifests itself. The hypothesis of the research is that it exists, but, without being able to be characterized by a general rule, it must be found in the analysis of singular cases, considering, for example, how the authors\' estrangement is reflected in their images. In order to confirm this assumption, life will be presented and the works will be interpreted of five photographers, born in Germany, exiled in Brazil because of the rise of Nazism; four of them are Jewish Alice Brill, Werner Haberkorn, Hans Gunter Flieg and Peter Scheier and one married to a Jew Hildegard Rosenthal. All registered the city of São Paulo, being these images the focus of the analysis, except in the case of Flieg, whose photos to be studied will be the industrial ones, since they are the most important of his production. These authors, with a hybrid identity, expressed a foreign look at the reality they portrayed, using modern styles imported from Europe, such as the New Vision, New Objectivity and Machine Aesthetics, contributing enormously, thus, to innovate Brazilian photography.

O objetivo desta tese de doutorado é discutir se há um olhar judaico expresso em fotografias, produzidas no Brasil, por autores com ligações com o Judaísmo, e como ele se manifesta. A hipótese da pesquisa é que ele existe, mas, sem poder ser caracterizado por uma regra geral, deve ser encontrado na análise de casos singulares, considerando, por exemplo, como a estrangeridade dos autores se reflete em suas imagens. Para confirmar essa suposição, serão apresentadas a vida e interpretadas as obras de cinco fotógrafos, nascidos na Alemanha, exilados no Brasil em razão da ascensão do nazifascismo; quatro deles são judeus Alice Brill, Werner Haberkorn, Hans Gunter Flieg e Peter Scheier e uma casou-se com um judeu Hildegard Rosenthal. Todos registraram a cidade de São Paulo, sendo essas imagens o foco da análise, exceto no caso de Flieg, cujas fotos a serem estudadas serão as industriais, pois são as mais importantes de sua produção. Esses autores, de identidade híbrida, expressaram um olhar estrangeiro à realidade que retrataram, utilizando estilos modernos importados da Europa, tais como a Nova Visão, a Nova Objetividade e a Estética da Máquina, contribuindo, assim, enormemente, para inovar a fotografia brasileira. / The purpose of this doctoral thesis is to discuss whether there is a Jewish view expressed in photographs, produced in Brazil, by authors with links to Judaism, and how it manifests itself. The hypothesis of the research is that it exists, but, without being able to be characterized by a general rule, it must be found in the analysis of singular cases, considering, for example, how the authors\' estrangement is reflected in their images. In order to confirm this assumption, life will be presented and the works will be interpreted of five photographers, born in Germany, exiled in Brazil because of the rise of Nazism; four of them are Jewish Alice Brill, Werner Haberkorn, Hans Gunter Flieg and Peter Scheier and one married to a Jew Hildegard Rosenthal. All registered the city of São Paulo, being these images the focus of the analysis, except in the case of Flieg, whose photos to be studied will be the industrial ones, since they are the most important of his production. These authors, with a hybrid identity, expressed a foreign look at the reality they portrayed, using modern styles imported from Europe, such as the New Vision, New Objectivity and Machine Aesthetics, contributing enormously, thus, to innovate Brazilian photography.