Fotocinema-Revista Cientifica de Cine y Fotografia最新文献_第10页

Mirando más allá al héroe de la república y al fotógrafo del imperio. Porfirio Díaz y la fotografía 超越共和国英雄和帝国摄影师。波菲里奥·迪亚兹与摄影

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2021-01-26 DOI: 10.24310/FOTOCINEMA.2021.VI22.11639

Arturo Aguilar Ochoa

引用次数: 0

Límites y paradojas de una fotografía de prensa: análisis de una foto de Madres de Plaza de Mayo durante la dictadura militar en Argentina 新闻摄影的局限性和悖论：阿根廷军事独裁统治期间梅奥广场母亲照片的分析

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2021-01-26 DOI: 10.24310/FOTOCINEMA.2021.VI22.11706

C. Gamarnik

{"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}

引用次数: 0

Sara Castrejón: fotografiar la revolución, representar a la mujer Sara castrejon:拍摄革命，代表女性

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2021-01-26 DOI: 10.24310/FOTOCINEMA.2021.VI22.11694

J. Mraz

{"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}

引用次数: 0

Imágenes desvanecidas. Develando la fotografía amateur de cambio de siglo a partir de la materialidad de la obra de Josefina Oliver 图像的幻想。从约瑟芬娜·奥利弗作品的物质性中揭示世纪之交的业余摄影

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2021-01-25 DOI: 10.24310/FOTOCINEMA.2021.VI22.11666

Clara Tomasini

{"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}

引用次数: 0

War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883) 战争摄影:Díaz和斯宾塞对太平洋战争(1879-1883)的报道

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2021-01-25 DOI: 10.24310/FOTOCINEMA.2021.VI22.11650

Candela Marini

{"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}

引用次数: 0

Estudio de la práctica fotográfica en Cusco en el período de 1897 a 1920 1897-1920年库斯科摄影实践研究

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2021-01-25 DOI: 10.24310/FOTOCINEMA.2021.VI22.11659

Andrés Garay

引用次数: 1

Estrada Álvarez, A., Defossé, N. y Zavala Scherer, D. (Coords.) (2019). Cine político en México (1968-2017) 埃斯特拉达alvarez, A.，德福涅，N.和扎瓦拉谢勒，D.(编)(2019)。墨西哥政治电影(1968-2017)

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2020-07-26 DOI: 10.24310/fotocinema.2020.vi21.10027

Montserrat Jurado Martín

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Eduardo de la Vega Alfaro (2017). Cine, política y censura en la era del Milagro Mexicano Eduardo de la Vega Alfaro(2017)。墨西哥奇迹时代的电影、政治和审查制度

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2020-07-26 DOI: 10.24310/fotocinema.2020.vi21.10028

Obed González.

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Shaila García Catalán. La luz lo ha revelado. 50 películas siniestras Shaila garcia加泰罗尼亚语。光已经揭示了它。50部邪恶电影

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2020-07-26 DOI: 10.24310/fotocinema.2020.vi21.10025

Aarón Rodríguez Serrano

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Valeriano Durán Manso (coordinador). (2020). Rompiendo el código Personajes y sexualidades latentes en el Hollywood clásico. Valeriano Duran Manso（协调员）。（2020年）。打破经典好莱坞中潜在的角色和性行为准则。

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Fotocinema-Revista Cientifica de Cine y Fotografia Pub Date : 2020-07-26 DOI: 10.24310/fotocinema.2020.vi21.10023

Sara Rebollo-Bueno

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