The Insubordination of Photography最新文献

Emergence of a Field 场的出现

The Insubordination of Photography Pub Date : 2020-01-14 DOI: 10.5744/florida/9781683401117.003.0004

Ángeles Donoso Macaya

{"title":"Emergence of a Field","authors":"Ángeles Donoso Macaya","doi":"10.5744/florida/9781683401117.003.0004","DOIUrl":"https://doi.org/10.5744/florida/9781683401117.003.0004","url":null,"abstract":"This chapter explores the discursive emergence of the photographic field. I elucidate the connections between the discursive emergence of the photographic field and the state of emergency installed on the same day the new Constitution took effect. My analysis considers how this expansion took place in the middle of Chile’s most severe economic crisis (which reached a climax in 1982), and also how the prevailing precariousness determined both the discourses about the photographic field that was beginning to consolidate, as well as the materiality, themes, and formal aspects of the different initiatives designed to consolidate the photographic field. The chapter also discusses the economists referred to as the Chicago Boys. In this chapter, I consider the texts published in Asociación de Fotógrafos Independientes’s (Independent Photographers Association, AFI) magazine Punto de Vista (1981–1990) and the two Anuarios fotográficos edited by the AFI in 1981 and 1982. I also analyze two collaborative photographic projects: Ediciones económicas de la fotografía chilena (1983) (Affordable Editions of Chilean Photography), and El pan nuestro de cada día (1986), a book edited collectively by photographers Óscar Navarro, Claudio Pérez, Paulo Slachevsky, and Carlos Tobar.","PeriodicalId":369541,"journal":{"name":"The Insubordination of Photography","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121959674","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}

引用次数: 1

Epilogue 后记

The Insubordination of Photography Pub Date : 2020-01-14 DOI: 10.5744/florida/9781683401117.003.0006

Ángeles Donoso Macaya

引用次数: 0

Back Matter 回到问题

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.14

引用次数: 0

Persistence of the Portrait 肖像的持久性

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.6

Ángeles Donoso Macaya

{"title":"Persistence of the Portrait","authors":"Ángeles Donoso Macaya","doi":"10.2307/j.ctvwvr304.6","DOIUrl":"https://doi.org/10.2307/j.ctvwvr304.6","url":null,"abstract":"The first chapter underscores the counter-archival work carried out by the Vicaría de la Solidaridad in the composition of the photographic archive of the detained-disappeared. The chapter also considers the different transformations, displacements, and disseminations endured by the portraits of the detained-disappeared. It considers the critical work of Walter Benjamin, Diana Taylor, and Ann Stoler. The analysis contemplates both the composition of the photographic archive of the portraits and the archive’s dissemination in the public space. I consider the Vicaría’s publications Solidaridad (a biweekly newsletter), Separata Solidaridad (a special issue that focused on particular matters also considered in Solidaridad), and the seven-volume book series ¿Dónde están? (1978–1979). I suggest that the visual representation of the crime of forced disappearances, which took shape with the public display of the portraits, was consolidated in these Vicaría publications, above all in ¿Dónde están? I also study artistic photographic practices devised to display and disseminate these photographic portraits in the public space. The chapter begins and ends with a consideration of Hernán Parada’s action “Obrabierta A” (1974–present), in particular one of its iterations in which the artist uses a photocopied mask of his brother, Alejandro Parada, detained and disappeared since July 1974.","PeriodicalId":369541,"journal":{"name":"The Insubordination of Photography","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127499305","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}

引用次数: 0

ACKNOWLEDGMENTS 致谢

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.4

引用次数: 0

List of Figures 数字一览表

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.3

引用次数: 0

Photography Off Limits 禁止摄影

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.9

Ángeles Donoso Macaya

引用次数: 0

Index 指数

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.13

引用次数: 0

WORKS CITED 作品的引用

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.12

引用次数: 0

Forensic Matter 法医物质

The Insubordination of Photography Pub Date : 2019-12-11 DOI: 10.2307/j.ctvwvr304.7

Ángeles Donoso Macaya

{"title":"Forensic Matter","authors":"Ángeles Donoso Macaya","doi":"10.2307/j.ctvwvr304.7","DOIUrl":"https://doi.org/10.2307/j.ctvwvr304.7","url":null,"abstract":"The Lonquén case, as it is known, was the first case that definitively confirmed the denied existence of the detained-disappeared. Besides establishing that fifteen men who had been detained on October 7, 1973, had been thrown into the furnace of an abandoned mine, buried, and left there in clandestine cemeteries, the forensic analysis and the inspecting judge’s investigation also revealed that the depositions given by the policemen involved in the crime were completely false. Despite the prominence of the Lonquén case, little attention has been placed on the documentary photographs that served to secure and present the physical remains found as forensic evidence. I consider two sets of photographs taken by Vicaría de la Solidaridad photographers Helen Hughes and Luis Navarro at the abandoned mine during the first days of December 1978, immediately after the findings. My analysis centers on the photos that were disseminated publicly and also considers how the unpublished photos (the vast majority) were discussed in the media. The chapter ends with a brief consideration of No Olvidar (Not To Forget) (1982) by Ignacio Agüero, and La ciudad de los fotógrafos by Sebastián Moreno, two documentary films in which the traces of Lonquén continue emerging.","PeriodicalId":369541,"journal":{"name":"The Insubordination of Photography","volume":"607 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122939784","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}

引用次数: 0