The staging in the photography – assembling scenes and telling stories
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Galáxia (São Paulo) |
Texto Completo: | https://revistas.pucsp.br/index.php/galaxia/article/view/36601 |
Resumo: | This paper aims to understand historically what would be and how it has been constructed the staging in the photographic language. Based on the thoughts of Fontcuberta, Soulages and Rouillé, we reflect on categories such as performance, manipulation, fiction and truth. This is to show that, in spite of what common sense advocates and certain ontological theories of photography defend (especially Barthes, but also Kracauer, Krauss, among others), staging has always been part of the photographic process and today, at a time in which it is practiced more openly and consciously, a new field of experimentation opens to photography, new ways of seeing and show permeated by a desire to fable, a willingness to invent worlds and tell stories. |
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The staging in the photography – assembling scenes and telling storiesA encenação na fotografia – montando cenas e contando históriasfotografiaencenaçãomanipulaçãoficçãoverdade.photographystagingmanipulationfictiontruth.This paper aims to understand historically what would be and how it has been constructed the staging in the photographic language. Based on the thoughts of Fontcuberta, Soulages and Rouillé, we reflect on categories such as performance, manipulation, fiction and truth. This is to show that, in spite of what common sense advocates and certain ontological theories of photography defend (especially Barthes, but also Kracauer, Krauss, among others), staging has always been part of the photographic process and today, at a time in which it is practiced more openly and consciously, a new field of experimentation opens to photography, new ways of seeing and show permeated by a desire to fable, a willingness to invent worlds and tell stories. Neste trabalho buscamos compreender, historicamente, o que seria e como tem sido construída a encenação na linguagem fotográfica. Partindo das reflexões de Fontcuberta, Soulages e Rouillé, refletiremos sobre categorias como performance, manipulação, ficção e verdade. Trata-se de mostrar que, apesar do que advoga o senso comum e defendem certas teorias ontológicas da fotografia (em especial Barthes, mas também Kracauer, Krauss, entre outros), a encenação sempre fez parte do processo fotográfico e hoje, num momento em que ela é praticada de forma mais aberta e consciente, um novo campo de experimentações se abre à fotografia, novas formas de ver e mostrar permeadas por um desejo de fabulação, uma vontade de inventar mundos e contar histórias. PEPG COS-PUC-SP2019-02-23info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistas.pucsp.br/index.php/galaxia/article/view/36601Galaxia; No. 40 (2019)GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 40 (2019)1982-2553reponame:Galáxia (São Paulo)instname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPporhttps://revistas.pucsp.br/index.php/galaxia/article/view/36601/27922Copyright (c) 2019 Galáxia. Revista do Programa de Pós-Graduação em Comunicação e Semiótica. ISSN 1982-2553info:eu-repo/semantics/openAccessdos Reis Filho, Osmar GonçalvesFreire de Morais, Isabelle2019-02-23T19:05:34Zoai:ojs.pkp.sfu.ca:article/36601Revistahttps://www.pucsp.br/pos-graduacao/mestrado-e-doutorado/comunicacao-e-semioticaPRIhttps://old.scielo.br/oai/scielo-oai.phpcos@pucsp.br||aidarprado@gmail.com1982-25531519-311Xopendoar:2019-02-23T19:05:34Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.none.fl_str_mv |
The staging in the photography – assembling scenes and telling stories A encenação na fotografia – montando cenas e contando histórias |
title |
The staging in the photography – assembling scenes and telling stories |
spellingShingle |
The staging in the photography – assembling scenes and telling stories dos Reis Filho, Osmar Gonçalves fotografia encenação manipulação ficção verdade. photography staging manipulation fiction truth. |
title_short |
The staging in the photography – assembling scenes and telling stories |
title_full |
The staging in the photography – assembling scenes and telling stories |
title_fullStr |
The staging in the photography – assembling scenes and telling stories |
title_full_unstemmed |
The staging in the photography – assembling scenes and telling stories |
title_sort |
The staging in the photography – assembling scenes and telling stories |
author |
dos Reis Filho, Osmar Gonçalves |
author_facet |
dos Reis Filho, Osmar Gonçalves Freire de Morais, Isabelle |
author_role |
author |
author2 |
Freire de Morais, Isabelle |
author2_role |
author |
dc.contributor.author.fl_str_mv |
dos Reis Filho, Osmar Gonçalves Freire de Morais, Isabelle |
dc.subject.por.fl_str_mv |
fotografia encenação manipulação ficção verdade. photography staging manipulation fiction truth. |
topic |
fotografia encenação manipulação ficção verdade. photography staging manipulation fiction truth. |
description |
This paper aims to understand historically what would be and how it has been constructed the staging in the photographic language. Based on the thoughts of Fontcuberta, Soulages and Rouillé, we reflect on categories such as performance, manipulation, fiction and truth. This is to show that, in spite of what common sense advocates and certain ontological theories of photography defend (especially Barthes, but also Kracauer, Krauss, among others), staging has always been part of the photographic process and today, at a time in which it is practiced more openly and consciously, a new field of experimentation opens to photography, new ways of seeing and show permeated by a desire to fable, a willingness to invent worlds and tell stories. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-02-23 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/36601 |
url |
https://revistas.pucsp.br/index.php/galaxia/article/view/36601 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistas.pucsp.br/index.php/galaxia/article/view/36601/27922 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
publisher.none.fl_str_mv |
PEPG COS-PUC-SP |
dc.source.none.fl_str_mv |
Galaxia; No. 40 (2019) GALÁxIA. Revista Interdisciplinar de Comunicação e Cultura; n. 40 (2019) 1982-2553 reponame:Galáxia (São Paulo) instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Galáxia (São Paulo) |
collection |
Galáxia (São Paulo) |
repository.name.fl_str_mv |
Galáxia (São Paulo) - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
cos@pucsp.br||aidarprado@gmail.com |
_version_ |
1799129331355615232 |