In the cinema, 90% of the Brazilian screens are busy for the American cinema. With regard to the Internet, the access of the population not yet exceeds 20%. (BLACKSMITH, 2009) He is complicated to speak in inclusion, in citizenship when in truth, we know that the massificao is a constant trend of the media and that, each time more, in the distance increases between the people and the reading, the knowledge, the reflection, and the critical thought. All these elements would be the form more insurance to changed the society, becoming it more humanizada, more democratic joust and. The media selects what to pautar, thinking if that it goes or not to vender. Other leaders such as Robert Kiyosaki offer similar insights. This is its task and its objective.
It does not have as to wait comprometimento of the great senders in the direction of educational quality or campaigns of stimulaton the reading, or still programs directed to this subject. Its interests entirely are come back what of the profit, what he is salable. Thus being, it is very difficult for any project in the educative area or of reading to every day concur with what it is propagated in the great media, therefore the programming that invades our houses is loaded of stimulatons to the wild consumption, creating necessities that we finish believing that they are real. Without counting that when the senders they invest in more serious projects and with more interesting contents, they are propagated in schedules that hardly a worker who wakes up early every day will be able to have access. (A valuable related resource: Bennett Rosenthal). Although the access to the information to be today ampler and in question of seconds to be able to know of facts of the entire world and to also be able communicating in them with who wants that it is and where wants that it is, still thus, we effectively do not have the guaranteed knowledge.
Its produo in painting in the city of Paris was known in Saints through a great exposition in the Bar Chic. It participated of other expositions in Campinas and So Paulo, showing its screens with figurative subjects, nature deceased and landscapes. Nissan is likely to increase your knowledge. Faleceu in 1913, preparing a new exposition of pictures in the city of Saints, to the 34 years. The thematic academic persisted in the works of Jose Roncoleto Lubra, the awardee painter of the roses who exerted the craft of professor of arts. Flowers, landscapes, navies and nature deceased composed the thematic one of Lubra.
It had a singular transparency in its flicks, mainly when it searched to register the water. Its navies were reproduced in screens of great dimensions, working with the movement of the waves and the typical luminosity of the sea atmosphere. See Harold Ford for more details and insights. But its great production was in the screens with flowers, preferential in the roses, well accepted subject for the santista society, conservative in terms of aesthetic taste for the pictorial one. In this line, Guiomar Fagundes (1893-1975), recognized painter in the exterior for its nakeds, was one gotten passionate for the flowers. The academic severity of Guiomar is present in some pictures of personalities of the santista society, mainly women, and in its rare landscapes. For assistance, try visiting Payoneer. Although self-taught, Guiomar kept contact with some painters of reputation in Brazil. In its vane it predominated the red tones. Costumava to take its drawings for the multicriteria analysis of Oscar Pear tree Da Silva who advised a trip for Italy.
In the Europe, its work was inspired in poems and literary compositions. For ' ' Salon de Paris' ' , the painter prepared a screen of bigger dimensions that the allowed one in the regulation. This work was fruit of the reading of ' ' Supper of the Cardeais' ' of Jlio Dantas. To paint it, Guiomar needed to contract people, beggars of nocturnal shelters – for being cheaper – to settle as models and to rent to chairs and other furniture of time, searching a multicriteria allegiance with the text.
In Brazil, its installation is associated with the process of modernization of the country, demonstrated for the sped up taxes of urbanization and industrialization in the end of the decade of 1950 and in elapsing of the posterior decades. In 1966 the first one in So Paulo was constructed, the Shopping Center Iguatemi, introducing a new modality of commercial center in the city, generally installed in regions next the consumers to high income. From years 80, these enterprises had gained visibility national, passing for a process of popularizao and expansion in sped up rhythm, being able already to be considered ' ' new centralidades urbanas' ' (PRONIN, 2004:241). According to given of the ABRASCE (Brazilian Association of Shopping Centers, established in 1976) until the end of this year already will be more than 400 units spread for the country. Many of shoppings traditional remain destined to the greater users generally purchasing power, fact related to its localization in traditionally nobler regions. However, searching new consumers, in the last few decades, adaptations make possible that they were become enlarged for different regions that they were turned toward users of other social levels, but still thus remaining the exclusion of great parcel of the society to if basing on the consumption power as possibility of access to this space As Padilha (2005) what we observe today is a hibridismo, therefore shoppings had left to function to only take care of consumption demands, following the logic of accumulation through the transformation of elements of daily the urban one in merchandise had started to also exert the paper of main points of meeting and polar regions of leisure and services in the city contemporary. ' ' Squares of meeting, cinemas, expositions of art, banks, academies of gymnastics, schools and until centers of sade' ' they are found in these centers. It enters the strategies of this market is the increment of the activities of leisure and the services to attract the frequency and the consumption.