<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842025000206002</article-id>
<article-id pub-id-type="doi">10.21814/vista.6518</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Foto-Retrato, Foto-Pintura: Identidades do Cariri]]></article-title>
<article-title xml:lang="en"><![CDATA[Photo-Portrait, Photo-Painting: Identities of Cariri]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Pereira]]></surname>
<given-names><![CDATA[Tiago Pedro]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Federal do Rio de Janeiro Escola de Comunicação ]]></institution>
<addr-line><![CDATA[Rio de Janeiro ]]></addr-line>
<country>Brasil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>07</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>07</month>
<year>2025</year>
</pub-date>
<numero>16</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842025000206002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842025000206002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842025000206002&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este é um ensaio visual analógico em filme 120mm de retratos de mestres da cultura popular no Cariri. Para ele, foram registrados: o Mestre Chico Alagoano (de fotografia lambe-lambe); o Mestre Nena, bacamarteiro; o Mestre Antônio Matheus do Reisado dos Irmãos; a Dona Maria, antiga parteira do Horto. As mesmas fotografias foram refeitas artesanalmente em forma de foto-pintura, com impressão em papel fotográfico com sais de prata, pintura a pastel e pigmentos líquidos, por dois foto-pintores, os últimos do Ceará: Mestre Júlio e Mestre Mirialdo. Nesse processo de entendimento do trabalho de retrato no interior do Ceará, com a presença de dois foto-pintores diferentes, é possível estabelecer a pluralidade do ofício na região. O registro desse processo visa não somente demonstrar a técnica, como desconstruir um imaginário de &#8220;fazedores de boneco&#8221;, que se disseminou sobre a foto-pintura nordestina. Mestre Júlio e Mestre Mirialdo, ao pintarem as mesmas fotografias dos mestres da cultura popular, desenvolvem técnicas diferentes, possibilitando, de forma rara nos dias atuais, uma análise comparada desse tipo de trabalho. É possível notar o refinamento do trabalho dos dois, em uma forma de produção complexa que é a foto-pintura, onde se pinta todo o retrato a partir de impressões a preto e branco do rosto do cliente. O presente ensaio pretende chamar a atenção de quem vê essas imagens de forma a se interessar mais pelo assunto.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The present visual essay, shot on 120mm film, presents portraits of masters of popular culture in Cariri. Among those recorded are Chico Alagoano (of fotografia lambe-lambe, street photography); Mestre Nena, bacamarteiro (festive blunderbuss-shooter); Mestre Antônio Matheus of the Reisado dos Irmãos; and Dona Maria, a former midwife from Horto. The same photographs were recreated in the form of photo-paintings, produced using traditional techniques with prints on silver salt photographic paper, pastel painting, and liquid pigments, by two photo-painters, the last in Ceará: Mestre Júlio and Mestre Mirialdo. In this process of understanding portrait work in the interior of Ceará, with the presence of two different photo-painters, it is possible to establish the plurality of the craft in the region. The recording of this process aims not only to demonstrate the technique but also to deconstruct an imaginary of &#8220;doll-makers&#8221;, an imaginary that has spread around Northeastern photo-painting. Mestre Júlio and Mestre Mirialdo, when painting the same photographs of masters of popular culture, develop different techniques, allowing, in a rare way nowadays, a comparative analysis of this type of work. One can note the refinement of their work in the complex form of production that is photo-painting, where the entire portrait is produced from black-and-white prints of the client&#8217;s face. This essay aims to capture the viewer&#8217;s attention, thereby fostering a greater interest in the subject.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[memória]]></kwd>
<kwd lng="pt"><![CDATA[retrato]]></kwd>
<kwd lng="pt"><![CDATA[foto-pintura]]></kwd>
<kwd lng="pt"><![CDATA[fabulação]]></kwd>
<kwd lng="pt"><![CDATA[ensaio visual]]></kwd>
<kwd lng="en"><![CDATA[memory]]></kwd>
<kwd lng="en"><![CDATA[portrait]]></kwd>
<kwd lng="en"><![CDATA[photo-painting]]></kwd>
<kwd lng="en"><![CDATA[fabulation]]></kwd>
<kwd lng="en"><![CDATA[visual essay]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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</name>
</person-group>
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</person-group>
<source><![CDATA[Teses sobre o conceito de história]]></source>
<year>1994</year>
<publisher-name><![CDATA[Brasiliense]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
