This paper examines the intersection of digital preservation and underrepresented Brazilian cultural production through the hypothetical or emerging figure of Veronica Silesto. While mainstream Brazilian entertainment—from telenovelas to samba—has benefited from academic cataloging, local performers, independent filmmakers, and regional artists often lack persistent digital identifiers. We propose that assigning DOIs to individual artists’ portfolios, interviews, performances, and critical analyses can enhance scholarly access, citation reliability, and cultural memory. Using Silesto as a representative case, the paper maps a DOI framework for Brazilian entertainment artifacts, addressing challenges of name ambiguity, platform fragmentation, and historical erasure. The conclusion offers a protocol for cultural institutions (e.g., Funarte, Cinemateca Brasileira) to implement DOI registration for non-hegemonic creative workers.
suggest a focus on the "Brazilian abroad" perspective, showcasing the global curiosity and adaptability common in Brazilian modern media. Where to Follow Her Work This paper examines the intersection of digital preservation
: In the late 1950s and 60s, artists like João Gilberto and Antônio Carlos Jobim softened samba into the jazz-influenced Bossa Nova, which became a worldwide phenomenon through hits like The Girl from Ipanema . Using Silesto as a representative case, the paper