Pub Date : 2021-01-26DOI: 10.24310/FOTOCINEMA.2021.VI22.11639
Arturo Aguilar Ochoa
After just over five years of fighting the French Intervention, the Habsburg Emperor Maximilian was finally defeated and shot in the medians of Cerro de las Campanas in Queretaro in 1867. The Republic returned triumphant, and its architects began to glimpse new positions of power, such was the case of General Porfirio Diaz, who feeling worthy of the triumph, more than President Benito Juarez, saw in the photograph the possibility of spreading his image among the people, and thus gaining followers in the future electoral contest. The Oaxacan general resorted to the services of the most famous photographers of the moment, such as Frenchman Francois Aubert, who gladly responded to the request. Then, the present work has the purpose of analyzing the historical context in which Diaz went to the studios to have his portrait taken. It also explores Aubert's activity as a photographer in Mexico, his time at the court of Maximiliano, his trip to Queretaro to document the fall of the empire and his return to the capital to witness the entry of Juarez and put himself at the service of Porfirio Diaz.
经过短短五年多的法国干涉，哈布斯堡皇帝马克西米利安最终被击败，并于1867年在克雷塔罗的Cerro de las Campanas中部被枪杀。共和国胜利归来，它的缔造者开始看到新的权力位置，例如波菲里奥·迪亚兹将军，他觉得自己比贝尼托·华雷斯总统更值得胜利，他在这张照片中看到了在人民中传播自己形象的可能性，从而在未来的选举中赢得追随者。这位瓦哈卡将军求助于当时最著名的摄影师，比如法国人弗朗索瓦·奥贝尔(Francois Aubert)，后者欣然答应了他的请求。然后，本作品的目的是分析迪亚兹去工作室拍摄他的肖像的历史背景。它还探讨了奥伯特作为一名摄影师在墨西哥的活动，他在马克西米利亚诺宫廷的时光，他去克雷塔罗记录帝国的衰落，以及他回到首都见证华雷斯的进入，并为波菲里奥·迪亚兹服务。
{"title":"Mirando más allá al héroe de la república y al fotógrafo del imperio. Porfirio Díaz y la fotografía","authors":"Arturo Aguilar Ochoa","doi":"10.24310/FOTOCINEMA.2021.VI22.11639","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11639","url":null,"abstract":"After just over five years of fighting the French Intervention, the Habsburg Emperor Maximilian was finally defeated and shot in the medians of Cerro de las Campanas in Queretaro in 1867. The Republic returned triumphant, and its architects began to glimpse new positions of power, such was the case of General Porfirio Diaz, who feeling worthy of the triumph, more than President Benito Juarez, saw in the photograph the possibility of spreading his image among the people, and thus gaining followers in the future electoral contest. The Oaxacan general resorted to the services of the most famous photographers of the moment, such as Frenchman Francois Aubert, who gladly responded to the request. Then, the present work has the purpose of analyzing the historical context in which Diaz went to the studios to have his portrait taken. It also explores Aubert's activity as a photographer in Mexico, his time at the court of Maximiliano, his trip to Queretaro to document the fall of the empire and his return to the capital to witness the entry of Juarez and put himself at the service of Porfirio Diaz.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"23-48"},"PeriodicalIF":0.1,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46570624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-26DOI: 10.24310/FOTOCINEMA.2021.VI22.11706
C. Gamarnik
This article addresses the story of a photograph that was used as a symbol of a possible reconciliation between the Mothers of the Plaza de Mayo and the military dictatorship in Argentina. On October 5, 1982, eight human rights organizations jointly called for a mobilization to demand the return, alive, of the detained and disappeared. That day a photograph was produced that appeared to show a hug between a policeman and a mother. The photograph had immediate media significance and was used to support a supposed policy of reconciliation between human rights organizations and the repressive forces, which in reality never existed. In turn image’s uses and interpretations allow us to analyze both the limitations and the possibilities of press photography when constituting itself as evidence and at the same time as a symbol of an event. The controversial nature and the success in journalistic and photographic terms places this image as a privileged object of study to analyze the relationship between dictatorship, media and photography as well as to reflect on the capacity of an image to dispute the historical meaning of a fact and to influence the public opinion.
{"title":"Límites y paradojas de una fotografía de prensa: análisis de una foto de Madres de Plaza de Mayo durante la dictadura militar en Argentina","authors":"C. Gamarnik","doi":"10.24310/FOTOCINEMA.2021.VI22.11706","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11706","url":null,"abstract":"This article addresses the story of a photograph that was used as a symbol of a possible reconciliation between the Mothers of the Plaza de Mayo and the military dictatorship in Argentina. On October 5, 1982, eight human rights organizations jointly called for a mobilization to demand the return, alive, of the detained and disappeared. That day a photograph was produced that appeared to show a hug between a policeman and a mother. The photograph had immediate media significance and was used to support a supposed policy of reconciliation between human rights organizations and the repressive forces, which in reality never existed. In turn image’s uses and interpretations allow us to analyze both the limitations and the possibilities of press photography when constituting itself as evidence and at the same time as a symbol of an event. The controversial nature and the success in journalistic and photographic terms places this image as a privileged object of study to analyze the relationship between dictatorship, media and photography as well as to reflect on the capacity of an image to dispute the historical meaning of a fact and to influence the public opinion.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"197-220"},"PeriodicalIF":0.1,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49542972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-26DOI: 10.24310/FOTOCINEMA.2021.VI22.11694
J. Mraz
In this article an analysis is presented of Sara Castrejon’s photography of the Mexican Revolution, with the development of Mexican women photographers. This is carried out through a photohistory that employs an historical methodology in which photographs serve as primary sources. Hence, the process is that of history, which is discovering primary sources, among them interviews and, moreover, incorporating secondary sources to contextualize the study. Inquiry is made into how Castrejon made a living in the midst of the civil war, and her political position as compared to that of other studio photographers. Moreover, a feminist perspective is incorporated by examining what opportunities existed for women in this period and how the choices Castrejon made differed from traditional patterns. The particularities of Castrejon’s photography that derived from her gender are examined. Castrejon’s imagery can be considered an example of “vernacular” photography, which is produced outside artistic canons (Batchen, 2000). In this sense, the study could be considered as being inspired by Postmodern photographic theory, which displaces art photography from its discursive dominance.
{"title":"Sara Castrejón: fotografiar la revolución, representar a la mujer","authors":"J. Mraz","doi":"10.24310/FOTOCINEMA.2021.VI22.11694","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11694","url":null,"abstract":"In this article an analysis is presented of Sara Castrejon’s photography of the Mexican Revolution, with the development of Mexican women photographers. This is carried out through a photohistory that employs an historical methodology in which photographs serve as primary sources. Hence, the process is that of history, which is discovering primary sources, among them interviews and, moreover, incorporating secondary sources to contextualize the study. Inquiry is made into how Castrejon made a living in the midst of the civil war, and her political position as compared to that of other studio photographers. Moreover, a feminist perspective is incorporated by examining what opportunities existed for women in this period and how the choices Castrejon made differed from traditional patterns. The particularities of Castrejon’s photography that derived from her gender are examined. Castrejon’s imagery can be considered an example of “vernacular” photography, which is produced outside artistic canons (Batchen, 2000). In this sense, the study could be considered as being inspired by Postmodern photographic theory, which displaces art photography from its discursive dominance.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"119-147"},"PeriodicalIF":0.1,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48075140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-25DOI: 10.24310/FOTOCINEMA.2021.VI22.11666
Clara Tomasini
The development of portable cameras, easy to use and faster than their predecessors, allowed, at the end of the 19th century, the growth of a very important group for the history of photography: the amateur photographers. This article proposes to analyze the practice of amateurism in Argentina from the production of photographer Josefina Oliver (1875-1956), composed of photographs taken and copied by herself that she attached to her personal diaries, taken between 1892 and 1956. It will be from the analysis of the materiality of these photographs that we will ask ourselves if it is possible to recognize signs of the amateur practice and, from them, to approach the context of production and circulation of knowledge of the amateur photographic environment during the change of century in Argentina. Although the situations registered in the photographs can help us to know their environment and social context, it will be the materiality of these photographs, in which we include the interventions made on them and the deterioration they present at this moment, that will allow us to reveal their working methods and, therefore, the knowledge and access that Oliver had to the photographic environment of the time.
{"title":"Imágenes desvanecidas. Develando la fotografía amateur de cambio de siglo a partir de la materialidad de la obra de Josefina Oliver","authors":"Clara Tomasini","doi":"10.24310/FOTOCINEMA.2021.VI22.11666","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11666","url":null,"abstract":"The development of portable cameras, easy to use and faster than their predecessors, allowed, at the end of the 19th century, the growth of a very important group for the history of photography: the amateur photographers. This article proposes to analyze the practice of amateurism in Argentina from the production of photographer Josefina Oliver (1875-1956), composed of photographs taken and copied by herself that she attached to her personal diaries, taken between 1892 and 1956. It will be from the analysis of the materiality of these photographs that we will ask ourselves if it is possible to recognize signs of the amateur practice and, from them, to approach the context of production and circulation of knowledge of the amateur photographic environment during the change of century in Argentina. Although the situations registered in the photographs can help us to know their environment and social context, it will be the materiality of these photographs, in which we include the interventions made on them and the deterioration they present at this moment, that will allow us to reveal their working methods and, therefore, the knowledge and access that Oliver had to the photographic environment of the time.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"97-117"},"PeriodicalIF":0.1,"publicationDate":"2021-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46630730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-25DOI: 10.24310/FOTOCINEMA.2021.VI22.11650
Candela Marini
In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.
{"title":"War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)","authors":"Candela Marini","doi":"10.24310/FOTOCINEMA.2021.VI22.11650","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11650","url":null,"abstract":"In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68912516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-25DOI: 10.24310/FOTOCINEMA.2021.VI22.11659
Andrés Garay
A study of Cusco photography between 1897 and 1920 is proposed, a period of which there is partial knowledge of the photographic activity in this Andean city. Even though the archives of the photographers of this period are lost or have not appeared to date, and even given the limited bibliography, an attempt will be made to specify about their commercial and creative dynamics and the relationship they may have had between them and with the sociocultural context in limited years. A qualitative methodology has been used with an interpretive approach to period documents and narrative design to be able to string together the information collected, with the aim of knowing how the development of photography was in Cusco until 1920, the year of the arrival of the photographer Martin Chambi to this city. The study detects the activity of many photographers, the professional scope of their work in the public sphere, the offer of postcards and views for tourism, the relationship between scientific projects and photography, and other aspects.
{"title":"Estudio de la práctica fotográfica en Cusco en el período de 1897 a 1920","authors":"Andrés Garay","doi":"10.24310/FOTOCINEMA.2021.VI22.11659","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11659","url":null,"abstract":"A study of Cusco photography between 1897 and 1920 is proposed, a period of which there is partial knowledge of the photographic activity in this Andean city. Even though the archives of the photographers of this period are lost or have not appeared to date, and even given the limited bibliography, an attempt will be made to specify about their commercial and creative dynamics and the relationship they may have had between them and with the sociocultural context in limited years. A qualitative methodology has been used with an interpretive approach to period documents and narrative design to be able to string together the information collected, with the aim of knowing how the development of photography was in Cusco until 1920, the year of the arrival of the photographer Martin Chambi to this city. The study detects the activity of many photographers, the professional scope of their work in the public sphere, the offer of postcards and views for tourism, the relationship between scientific projects and photography, and other aspects.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"75-95"},"PeriodicalIF":0.1,"publicationDate":"2021-01-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41885750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-26DOI: 10.24310/fotocinema.2020.vi21.10027
Montserrat Jurado Martín
Review bay Montserrat Jurado Martin from the book by Estrada Alvarez, A., Defosse, N. y Zavala Scherer, D. (Coords.) (2019). Cine politico en Mexico (1968-2017).
{"title":"Estrada Álvarez, A., Defossé, N. y Zavala Scherer, D. (Coords.) (2019). Cine político en México (1968-2017)","authors":"Montserrat Jurado Martín","doi":"10.24310/fotocinema.2020.vi21.10027","DOIUrl":"https://doi.org/10.24310/fotocinema.2020.vi21.10027","url":null,"abstract":"Review bay Montserrat Jurado Martin from the book by Estrada Alvarez, A., Defosse, N. y Zavala Scherer, D. (Coords.) (2019). Cine politico en Mexico (1968-2017).","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"476-481"},"PeriodicalIF":0.1,"publicationDate":"2020-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46200958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-26DOI: 10.24310/fotocinema.2020.vi21.10028
Obed González.
Review by Obed Gonzalez from the book by Eduardo de la Vega Alfaro (2017). Cine, politica y censura en la era del Milagro Mexicano.
奥贝德·冈萨雷斯（Obed Gonzalez）对爱德华多·德拉维加·阿尔法罗（Eduardo de la Vega Alfaro）的书的评论（2017年）。墨西哥奇迹时代的电影、政治和审查制度。
{"title":"Eduardo de la Vega Alfaro (2017). Cine, política y censura en la era del Milagro Mexicano","authors":"Obed González.","doi":"10.24310/fotocinema.2020.vi21.10028","DOIUrl":"https://doi.org/10.24310/fotocinema.2020.vi21.10028","url":null,"abstract":"Review by Obed Gonzalez from the book by Eduardo de la Vega Alfaro (2017). Cine, politica y censura en la era del Milagro Mexicano.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"482-487"},"PeriodicalIF":0.1,"publicationDate":"2020-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49088124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shaila García Catalán. La luz lo ha revelado. 50 películas siniestras","authors":"Aarón Rodríguez Serrano","doi":"10.24310/fotocinema.2020.vi21.10025","DOIUrl":"https://doi.org/10.24310/fotocinema.2020.vi21.10025","url":null,"abstract":"Review by Aaron Rodriguez Serrano from the book Shaila Garcia Catalan. La luz lo ha revelado. 50 peliculas siniestras.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"468-471"},"PeriodicalIF":0.1,"publicationDate":"2020-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48146883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-26DOI: 10.24310/fotocinema.2020.vi21.10023
Sara Rebollo-Bueno
Review by Sara Rebollo-Bueno from the book by Valeriano Duran Manso (coordinador). (2020). Rompiendo el codigo Personajes y sexualidades latentes en el Hollywood clasico.
{"title":"Valeriano Durán Manso (coordinador). (2020). Rompiendo el código Personajes y sexualidades latentes en el Hollywood clásico.","authors":"Sara Rebollo-Bueno","doi":"10.24310/fotocinema.2020.vi21.10023","DOIUrl":"https://doi.org/10.24310/fotocinema.2020.vi21.10023","url":null,"abstract":"Review by Sara Rebollo-Bueno from the book by Valeriano Duran Manso (coordinador). (2020). Rompiendo el codigo Personajes y sexualidades latentes en el Hollywood clasico.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"463-467"},"PeriodicalIF":0.1,"publicationDate":"2020-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43030489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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