Caos no design: o olhar pós-modernista de Rogério Duarte sobre os cartazes do cinema brasileiro moderno

Abstract

Although there is no consensus on its origin, the design as used today is recent in Brazil. The Semana de Arte Moderna de 22 has just completed 100 years old and the first higher education design school in few is decades old. In this work, it will be studied the institutionalization beginning of design in Brazil, its German influences, and the attempt to form a Brazilian identity through the encounters of different fields of knowledge. Our protagonist, Rogério Duarte, is still unknown by many in the design field, even though some of his works for cinema and Brazilian music have become eternal. Throughout his career, Rogério had a rational-functionalist background and was able to work with big names in this style in Brazil. However, it is from his encounter with cinema, music, and politics that Rogério Caos, as he was affectionately called by his colleagues from the National Union of Students (UNE), was born. His pieces for Cinema Novo and Tropicália are disruptive and have their own identity, often being classified as postmodern, even for the 1960s. The ground of ideas was faithful so that the designer could break up with modernism and create pieces that are the face of Brazil.