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🇧🇷 Brazil /Culture & Society

The world of censors was not as amusing as it seems

From Folha de S.Paulo · () Portuguese

Translated from Portuguese and summarized by DistantNews. Read the original for the full story.

At a glance

In-depth Named sources Context piece
  • Reporter Miguel de Almeida’s book, “Call the Thief: How Artists Outmaneuvered Military Government Censorship,” examines the struggle between artists and censors during Brazil’s dictatorship.
  • The book recounts how Chico Buarque adopted the name Julinho da Adelaide to avoid censorship and how filmmaker Luiz Carlos Barreto helped recover “Dona Flor and Her Two Husbands.”

The cat-and-mouse game between artists and censors during Brazil’s military dictatorship is the subject of “Call the Thief: How Artists Outmaneuvered Military Government Censorship,” a new book by reporter Miguel de Almeida.

The 182-page book surveys the ways artists tried to bypass officials who censored their work. Its best-known case involves Chico Buarque, who adopted the name Julinho da Adelaide after censors repeatedly targeted anything released under his own name.

The book also recounts how filmmaker Luiz Carlos Barreto helped recover “Dona Flor and Her Two Husbands,” a work by his son Bruno, with assistance from Amélia Lucy Geisel, the daughter of the president.

About this summary

Originally published by Folha de S.Paulo in Portuguese. Translated, summarized, and contextualized automatically by DistantNews, with a note on how the source frames the story. Not individually reviewed before publishing. How this works.

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