Sara castrejon:拍摄革命,代表女性

J. Mraz
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引用次数: 0

摘要

本文结合墨西哥女性摄影师的发展,分析了萨拉·卡斯雷翁的墨西哥革命摄影作品。这是通过采用以照片为主要来源的历史方法论的摄影史来进行的。因此,这个过程是一个历史的过程,这个过程是发现第一手资料,其中包括采访,而且,将二手资料纳入研究背景。调查卡斯特雷松是如何在内战中谋生的,以及她与其他工作室摄影师相比的政治立场。此外,通过研究这一时期女性存在的机会以及Castrejon做出的选择与传统模式的不同之处,将女权主义观点纳入其中。研究了卡斯特雷翁因性别而产生的摄影特质。Castrejon的图像可以被认为是“乡土”摄影的一个例子,它产生于艺术标准之外(Batchen, 2000)。从这个意义上说,这项研究可以被认为是受到后现代摄影理论的启发,后现代摄影理论取代了艺术摄影在话语中的主导地位。
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Sara Castrejón: fotografiar la revolución, representar a la mujer
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.
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
35
审稿时长
12 weeks
期刊最新文献
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