Pub Date : 2021-01-29DOI: 10.24310/FOTOCINEMA.2021.VI22.11735
José Manuel López-Agulló Pérez-Caballero
In this chapter we will analyze the film Amour (Michael Haneke, 2012). We have chosen the scene —third sequence of the film— in which the main character Anne stares at a void in catatonic state of mind while her husband Georges tries to recover her consciousness without any success. We will use the Theory of the Text and our conceptual framework will be the study of the real as it has been elaborated by Jesus Gonzalez Requena within the psychoanalytic field. More specifically, we will focus on his theorization based on the role of the Primordial Imago in the emergence of consciousness through shot reverse shot technique. We then propose as an exploratory hypothesis the existence of a footprint of the real that challenges the communicative exchange of this filmic technique.
{"title":"Análisis textual del rostro de Anne (Emmanuelle Riva) en Amor (Amour, Michael Haneke, 2012) a partir de la función de la Imago Primordial","authors":"José Manuel López-Agulló Pérez-Caballero","doi":"10.24310/FOTOCINEMA.2021.VI22.11735","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11735","url":null,"abstract":"In this chapter we will analyze the film Amour (Michael Haneke, 2012). We have chosen the scene —third sequence of the film— in which the main character Anne stares at a void in catatonic state of mind while her husband Georges tries to recover her consciousness without any success. We will use the Theory of the Text and our conceptual framework will be the study of the real as it has been elaborated by Jesus Gonzalez Requena within the psychoanalytic field. More specifically, we will focus on his theorization based on the role of the Primordial Imago in the emergence of consciousness through shot reverse shot technique. We then propose as an exploratory hypothesis the existence of a footprint of the real that challenges the communicative exchange of this filmic technique.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"351-371"},"PeriodicalIF":0.1,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44908459","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 : 2021-01-29DOI: 10.24310/FOTOCINEMA.2021.VI22.11736
Lidia Merás
The relationship between mothers and daughters is a theme of growing interest in contemporary Spanish cinema. Despite the abundant corpus on the filmic representation of motherhood, this bond has hardly been specifically addressed. Focusing on gender studies and taking into account horror cinema and melodrama in the treatment of this topic, this article analyses the aesthetic and narrative conventions that have guided the representation of this maternal-filial bond in feature films produced in Spain in recent years. Taking Carlos Vermut's third film as the case of study, I conclude that though Quien te cantara (2018) maintains some of the traditional motifs that had shaped the negative representation of kinship between mothers and daughters, it also expands maternity archetypes. Portraying unorthodox models of motherhood, Quien te cantara is one of the few films that presents the conflict from the mother’s and daughter’s point of view simultaneously, questioning an idealized image of this bond.
{"title":"El vínculo mortal. La relación madre-hija en Quién te cantará (Carlos Vermut, 2018)","authors":"Lidia Merás","doi":"10.24310/FOTOCINEMA.2021.VI22.11736","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11736","url":null,"abstract":"The relationship between mothers and daughters is a theme of growing interest in contemporary Spanish cinema. Despite the abundant corpus on the filmic representation of motherhood, this bond has hardly been specifically addressed. Focusing on gender studies and taking into account horror cinema and melodrama in the treatment of this topic, this article analyses the aesthetic and narrative conventions that have guided the representation of this maternal-filial bond in feature films produced in Spain in recent years. Taking Carlos Vermut's third film as the case of study, I conclude that though Quien te cantara (2018) maintains some of the traditional motifs that had shaped the negative representation of kinship between mothers and daughters, it also expands maternity archetypes. Portraying unorthodox models of motherhood, Quien te cantara is one of the few films that presents the conflict from the mother’s and daughter’s point of view simultaneously, questioning an idealized image of this bond.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"373-396"},"PeriodicalIF":0.1,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46268281","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 : 2021-01-29DOI: 10.24310/FOTOCINEMA.2021.VI22.11737
Ana Filipa Batalha Martins, O. Fernández, Ignacio Aguaded
For some decades, the recognition of the value of actuality films and its discussion as a record of the past was limited to the archival, historical and audiovisual production fields. Arousing interest mainly for their memorial or curious nature, thanks to digitalisation, these films reach new audiences through their dissemination on websites and social networks, of different natures and for various purposes. Taking as our starting point an interest in discussing these new online contexts, we propose a reflection on the forms of presentation and assessment of these images in public and commercial archives. Based on a descriptive sheet and a series of indicators on access to information, interaction, the use of social networks and the contextualisation of contents, we analyse the websites of Gaumont Pathe Archives, British Pathe, Archivo Historico NO-DO and Archivio Luce. We assume that the extinct newsreels, as a precursor genre of audiovisual infotainment, survive in the light of new readings, strategies and uses, with implications for memory and media literacy.
{"title":"Larga vida a las actualidades. La difusión de imágenes del pasado en los archivos en línea","authors":"Ana Filipa Batalha Martins, O. Fernández, Ignacio Aguaded","doi":"10.24310/FOTOCINEMA.2021.VI22.11737","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11737","url":null,"abstract":"For some decades, the recognition of the value of actuality films and its discussion as a record of the past was limited to the archival, historical and audiovisual production fields. Arousing interest mainly for their memorial or curious nature, thanks to digitalisation, these films reach new audiences through their dissemination on websites and social networks, of different natures and for various purposes. Taking as our starting point an interest in discussing these new online contexts, we propose a reflection on the forms of presentation and assessment of these images in public and commercial archives. Based on a descriptive sheet and a series of indicators on access to information, interaction, the use of social networks and the contextualisation of contents, we analyse the websites of Gaumont Pathe Archives, British Pathe, Archivo Historico NO-DO and Archivio Luce. We assume that the extinct newsreels, as a precursor genre of audiovisual infotainment, survive in the light of new readings, strategies and uses, with implications for memory and media literacy.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"397-426"},"PeriodicalIF":0.1,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430210","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 : 2021-01-28DOI: 10.24310/FOTOCINEMA.2021.VI22.11728
Fabiola Alcalá Anguiano
In this text, the film Faces Places by the filmmaker Agnes Varda and the graphic artist JR (2017) is analyzed, taking into account his condition as a performative documentary and following some theoretical-methodological guidelines that visual studies as a field and as a method offer. This analysis allows us to reflect on the emotional and reflexive functions of images, whether photographic, cinematographic, large format, analog or digital. As well as its aesthetic and socio-political impact following the contributions of Bill Nichols, Nicholas Mirzoeff and Gille Deleuze. The analysis is divided into four types of images that help to understand how the film works narratively and aesthetically, a documentary that is also made up of photographic installations and their replicas on the internet, these are: installation images, introspection images, absence images and images reproduction, a taxonomy under construction that can serve as a basis for the study of other films of this nature.
{"title":"Las imágenes de Rostros y Lugares (2017). Una reflexión desde el documental performativo y los estudios visuales","authors":"Fabiola Alcalá Anguiano","doi":"10.24310/FOTOCINEMA.2021.VI22.11728","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11728","url":null,"abstract":"In this text, the film Faces Places by the filmmaker Agnes Varda and the graphic artist JR (2017) is analyzed, taking into account his condition as a performative documentary and following some theoretical-methodological guidelines that visual studies as a field and as a method offer. This analysis allows us to reflect on the emotional and reflexive functions of images, whether photographic, cinematographic, large format, analog or digital. As well as its aesthetic and socio-political impact following the contributions of Bill Nichols, Nicholas Mirzoeff and Gille Deleuze. The analysis is divided into four types of images that help to understand how the film works narratively and aesthetically, a documentary that is also made up of photographic installations and their replicas on the internet, these are: installation images, introspection images, absence images and images reproduction, a taxonomy under construction that can serve as a basis for the study of other films of this nature.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"331-349"},"PeriodicalIF":0.1,"publicationDate":"2021-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45352268","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 : 2021-01-28DOI: 10.24310/FOTOCINEMA.2021.VI22.11727
N. Fortuny
This article takes, on the one hand, as a turning point the Argentine crisis of 2001 to thread certain works of Argentine artistic photography that intersect art and politics, evoking one of the experiences of that political-social outbreak. On the other hand, the article thinks of photography in its objectual nature from an important dimension of photographic materiality: its surface. Specifically, the visual strategies of two photographic groups will be displayed: the series Banks, by Juan Travnik (2003-2005) and Corralito, by Nuna Mangiante (2009). The photographic image, a surface itself, captures in these series the very surface of the spaces of the city in crisis, especially around its economic consequences and what was known as "the bank corralito". Their procedures and choices will define them as photographic memories of a past in crisis.
{"title":"Superficies fotográficas: el resto, el trazo y las imágenes en crisis","authors":"N. Fortuny","doi":"10.24310/FOTOCINEMA.2021.VI22.11727","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11727","url":null,"abstract":"This article takes, on the one hand, as a turning point the Argentine crisis of 2001 to thread certain works of Argentine artistic photography that intersect art and politics, evoking one of the experiences of that political-social outbreak. On the other hand, the article thinks of photography in its objectual nature from an important dimension of photographic materiality: its surface. Specifically, the visual strategies of two photographic groups will be displayed: the series Banks, by Juan Travnik (2003-2005) and Corralito, by Nuna Mangiante (2009). The photographic image, a surface itself, captures in these series the very surface of the spaces of the city in crisis, especially around its economic consequences and what was known as \"the bank corralito\". Their procedures and choices will define them as photographic memories of a past in crisis.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"305-329"},"PeriodicalIF":0.1,"publicationDate":"2021-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45802420","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 : 2021-01-27DOI: 10.24310/FOTOCINEMA.2021.VI22.11713
Ana Maria Mauad, Silvana Louzada, Luciano Gomes da Silva Júnior
In Brazil, throughout the 20th century, the photographs published on the pages of magazines and newspapers modeled a visual public space, in which facts and photos were combined in the narrative of events. The city of Rio de Janeiro, the Brazilian capital until 1960, was the privileged space for the institutionalization of photographic practice, since it was concentrated, since the 19th century, the main photographic studios, as well as the editorial houses responsible for the circulation and sale of prints. The article addresses the itineraries of public photography in contemporary Brazil. It focuses on the evaluation of the production of a visual public space, valuing three moments in which the photographic practice is consolidated in spaces of the weekly, daily and independent press: the illustrated magazines from the first half of the 20th century, with emphasis on four magazines: "Careta", "Revista da Semana", "Fon-Fon" and "O Cruzeiro"; the photojournalism of daily newspapers, “Jornal do Brasil”and “Ultima Hora”, in the 1950s and 1960s; and the agencies of independent photographers of the 1970s and 1980s, such as: Central, Angular, F4, AGIL Fotojornalismo, Fotocontexto, among others, acting as important instruments of documentation of social movements, and promoting the consolidation of independent production, the practice of archiving originals, control over the publication and dissemination of photographs. It is understandable that in such spaces public photography was forged as one of the dimensions of contemporary historical experience that relied on the technical image to shape its events. In order to inquire about how history was visualized in each of these domains, it proposes a script that begins with a brief consideration of public photography and visual public space, followed by a reflection on news production in the illustrated weeklies, including the registration of events in the regime of the photographic icons and arriving at the independent photographic practice. Conceptually, photographic practice is understood as ways of seeing, presenting and representing the social world, a historical experience that founded the contemporary Western world. The social circuits in photography and their uses and functions multiplied in a visual economy sustained by the technical image as a device for the production of social meaning. In methodological terms, it uses the historical analysis of the primary documentation found in the database of the digital library of the National Library of Brazil and in the archives of the Oral History and Image Laboratory of the Universidade Federal Fluminense. The historical analysis is complemented with an appraisal of the communicative forms and the power of meaning of four photographs, highlighted from each of the historical periods analyzed.
在整个20世纪的巴西，刊登在杂志和报纸上的照片塑造了一个视觉公共空间，在这个空间里，事实和照片被结合在一起来叙述事件。直到1960年，巴西首都里约热内卢一直是摄影实践制度化的特权空间，因为自19世纪以来，主要的摄影工作室以及负责印刷品流通和销售的编辑部都集中在这里。这篇文章讲述了当代巴西公共摄影的行程。它侧重于对视觉公共空间的生产进行评估，重视摄影实践在每周，每日和独立媒体空间中巩固的三个时刻:20世纪上半叶的插图杂志，重点是四本杂志:“Careta”，“revsta da Semana”，“Fon-Fon”和“O Cruzeiro”;20世纪50年代和60年代《巴西日报》和《最后时刻》等日报的新闻摄影;以及20世纪70年代和80年代的独立摄影师机构，如:Central, Angular, F4, AGIL Fotojornalismo, Fotocontexto等，作为记录社会运动的重要工具，促进了独立生产的巩固，原件存档的做法，对照片出版和传播的控制。可以理解的是，在这样的空间中，公共摄影被锻造成当代历史经验的一个维度，依赖于技术图像来塑造其事件。为了探究历史是如何在这些领域中被可视化的，它提出了一个脚本，从对公共摄影和视觉公共空间的简要考虑开始，然后是对插图周刊新闻生产的反思，包括在摄影图标的制度下对事件的登记，并到达独立的摄影实践。从概念上讲，摄影实践被理解为一种观察、呈现和再现社会世界的方式，一种建立当代西方世界的历史经验。摄影中的社会回路及其用途和功能在一种视觉经济中成倍增加，这种视觉经济是由技术图像作为生产社会意义的工具来维持的。在方法方面，它使用了对巴西国家图书馆数字图书馆数据库和联邦弗鲁米南塞大学口述历史和图像实验室档案中发现的主要文献的历史分析。历史分析是对四张照片的交流形式和意义力量的评估的补充，突出了每个分析的历史时期。
{"title":"Das revistas ilustradas ao fotojornalismo independente: itinerários da prática fotográfica no Brasil do século XX","authors":"Ana Maria Mauad, Silvana Louzada, Luciano Gomes da Silva Júnior","doi":"10.24310/FOTOCINEMA.2021.VI22.11713","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11713","url":null,"abstract":"In Brazil, throughout the 20th century, the photographs published on the pages of magazines and newspapers modeled a visual public space, in which facts and photos were combined in the narrative of events. The city of Rio de Janeiro, the Brazilian capital until 1960, was the privileged space for the institutionalization of photographic practice, since it was concentrated, since the 19th century, the main photographic studios, as well as the editorial houses responsible for the circulation and sale of prints. \u0000The article addresses the itineraries of public photography in contemporary Brazil. It focuses on the evaluation of the production of a visual public space, valuing three moments in which the photographic practice is consolidated in spaces of the weekly, daily and independent press: the illustrated magazines from the first half of the 20th century, with emphasis on four magazines: \"Careta\", \"Revista da Semana\", \"Fon-Fon\" and \"O Cruzeiro\"; the photojournalism of daily newspapers, “Jornal do Brasil”and “Ultima Hora”, in the 1950s and 1960s; and the agencies of independent photographers of the 1970s and 1980s, such as: Central, Angular, F4, AGIL Fotojornalismo, Fotocontexto, among others, acting as important instruments of documentation of social movements, and promoting the consolidation of independent production, the practice of archiving originals, control over the publication and dissemination of photographs. It is understandable that in such spaces public photography was forged as one of the dimensions of contemporary historical experience that relied on the technical image to shape its events. In order to inquire about how history was visualized in each of these domains, it proposes a script that begins with a brief consideration of public photography and visual public space, followed by a reflection on news production in the illustrated weeklies, including the registration of events in the regime of the photographic icons and arriving at the independent photographic practice. \u0000Conceptually, photographic practice is understood as ways of seeing, presenting and representing the social world, a historical experience that founded the contemporary Western world. The social circuits in photography and their uses and functions multiplied in a visual economy sustained by the technical image as a device for the production of social meaning. In methodological terms, it uses the historical analysis of the primary documentation found in the database of the digital library of the National Library of Brazil and in the archives of the Oral History and Image Laboratory of the Universidade Federal Fluminense. The historical analysis is complemented with an appraisal of the communicative forms and the power of meaning of four photographs, highlighted from each of the historical periods analyzed.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"221-254"},"PeriodicalIF":0.1,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45324720","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 : 2021-01-27DOI: 10.24310/FOTOCINEMA.2021.VI22.11722
M. Moreira
Brazil is going through a critical moment in its social history. However, it may be the appropriate time to rethink the structural racism built by the colonial process. Based on a historical review of the representation of indigenous and Afro-Brazilian people in Brazilian anthropological photography, we sought to recognize the evolution of the colonial discourse developed in the country. The study was supported by a broad research on emblematic photographs from public and private archives, and the reading of anthropologists and historians, especially Fernando de Tacca (2011). Five phases of this genealogy of coloniality in the country are concluded from this review. Currently, practices that seek to decolonize are perceived from a critical and dialogical rereading of photographic memory that can heal and symbolically transform the identity of the groups violated by colonial history, but a new challenge is interposed from the computer algorithms.
{"title":"La representación de indígenas y afrodescendientes en la fotografía antropológica en Brasil","authors":"M. Moreira","doi":"10.24310/FOTOCINEMA.2021.VI22.11722","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11722","url":null,"abstract":"Brazil is going through a critical moment in its social history. However, it may be the appropriate time to rethink the structural racism built by the colonial process. Based on a historical review of the representation of indigenous and Afro-Brazilian people in Brazilian anthropological photography, we sought to recognize the evolution of the colonial discourse developed in the country. The study was supported by a broad research on emblematic photographs from public and private archives, and the reading of anthropologists and historians, especially Fernando de Tacca (2011). Five phases of this genealogy of coloniality in the country are concluded from this review. Currently, practices that seek to decolonize are perceived from a critical and dialogical rereading of photographic memory that can heal and symbolically transform the identity of the groups violated by colonial history, but a new challenge is interposed from the computer algorithms.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"279-304"},"PeriodicalIF":0.1,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41345183","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 : 2021-01-27DOI: 10.24310/FOTOCINEMA.2021.VI22.11719
C. G. Ponce
The intention of this article is to establish the context in which a field of scientific studies has emerged around photography in the disciplines of Social Sciences and Humanities in Mexico. First, I present a general overview of the beginnings of photography's relationship with the Social Sciences and Humanities in Mexico, to then detail how some consolidation and diversification processes were gestated and how the lines of research that converge in the use have been configured of photography in these areas, as well as in the search for legitimacy through various actions carried out by researchers who have used photography in several Mexican academic institutions.
{"title":"Fotografía y ciencia. La fotografía en la investigación de Ciencias Sociales y Humanidades en México","authors":"C. G. Ponce","doi":"10.24310/FOTOCINEMA.2021.VI22.11719","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11719","url":null,"abstract":"The intention of this article is to establish the context in which a field of scientific studies has emerged around photography in the disciplines of Social Sciences and Humanities in Mexico. First, I present a general overview of the beginnings of photography's relationship with the Social Sciences and Humanities in Mexico, to then detail how some consolidation and diversification processes were gestated and how the lines of research that converge in the use have been configured of photography in these areas, as well as in the search for legitimacy through various actions carried out by researchers who have used photography in several Mexican academic institutions.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"255-278"},"PeriodicalIF":0.1,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46785536","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.VI22.11704
Juliana Robles de la Pava
Despite the fact that photographic experimentalism in Latin America, and particularly in Argentina, has been constantly displaced from the lines of historical and socio-cultural research on the arts and visual culture, in recent years this aesthetic phenomenon has acquired greater relevance in research on the medium. In this article I propose to analyze the discourses and practices on the experimentation of technical images in the Argentina of the seventies. During this decade, exhibitions of the photographic medium were held that showed the interest of several photographic groups in exploring the material possibilities of the photographic image in the key of an aesthetic anti-conventionalism. To carry out this work, we will first investigate the debates on photographic experimentalism, understood from various perspectives as a specific understanding of the medium, and then determine the links between these conceptions of photography and the cases of the Manifesto of the Experimental Photographic Group, the direct shots of the Beta Group presented in Lirolay and the photograms exhibited in Visual Experiences with Photographic Media in Odin’s Gallery. Finally, we will examine the place of the technique as a material substrate that made possible to set the photographic experiments in this context.
{"title":"Experiencias y experimentación fotográfica en la Argentina de los setenta","authors":"Juliana Robles de la Pava","doi":"10.24310/FOTOCINEMA.2021.VI22.11704","DOIUrl":"https://doi.org/10.24310/FOTOCINEMA.2021.VI22.11704","url":null,"abstract":"Despite the fact that photographic experimentalism in Latin America, and particularly in Argentina, has been constantly displaced from the lines of historical and socio-cultural research on the arts and visual culture, in recent years this aesthetic phenomenon has acquired greater relevance in research on the medium. In this article I propose to analyze the discourses and practices on the experimentation of technical images in the Argentina of the seventies. During this decade, exhibitions of the photographic medium were held that showed the interest of several photographic groups in exploring the material possibilities of the photographic image in the key of an aesthetic anti-conventionalism. To carry out this work, we will first investigate the debates on photographic experimentalism, understood from various perspectives as a specific understanding of the medium, and then determine the links between these conceptions of photography and the cases of the Manifesto of the Experimental Photographic Group, the direct shots of the Beta Group presented in Lirolay and the photograms exhibited in Visual Experiences with Photographic Media in Odin’s Gallery. Finally, we will examine the place of the technique as a material substrate that made possible to set the photographic experiments in this context.","PeriodicalId":40899,"journal":{"name":"Fotocinema-Revista Cientifica de Cine y Fotografia","volume":"1 1","pages":"173-195"},"PeriodicalIF":0.1,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46516523","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.VI22.11637
Magdalena Broquetas, Andrea Cuarterolo
Since the end of the last century, the historiography of photography in Latin America began a period of rapid transformation due to two factors that stimulated the development of this field in the region: the accelerated evolution of photographic archives and the entry of photography as an object of study in universities. These changes gave rise to a methodological reflection that brought historians closer to the world of images, confronting them with unique challenges and possibilities in relation to other types of sources. The need to develop a specific vocabulary and methodology for the analysis of these images and to focus the study of photography as part of a chain that involves several agents was postulated. An understanding of the historical dimension of photography was proposed, not only as an artistic expression but fundamentally as the history of a means of recording, communication and expression with diverse purposes. The use of images as primary sources was encouraged, respecting their context, their multiple social functions, and their stories and itineraries. This dossier seeks to account for this diversity, vitality and renewal of historiographic studies on Latin American photography from different theoretical and methodological perspectives
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