O contracampo fotográfico : em busca do neutro na fotografia

• Autor(a) principal: Miceli, Fábio Magdalena, 1981-
• Data de Publicação: 2018
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/34934
• topic: Wenders, Wim, 1945-; Douglas, Stan, 1960-; Fotografia; Cinema; Campo visual; Composição visual - elementos; Espelho; Neutro; Arte Multimédia - Especialização em Fotografia

The present work explores the subject of the out-of-field image in the photographic language. More specifically the intention is to identify the characteristics of part of this spatial set negated in the act of photographic cutout: the counter-field - the out-of-field of the image that lies behind the privileged field. The main references to the concept of counter-field are of theorists who work with the theme in the cinematographic language and of visual artists, in this way the appropriation became necessary to deepen the research within the approach in the photography. The main objective of the practical project allied to theories is to identify and defend the point of view that always accompanies every photograph: the photographic counter-field. This framing asproposed would be the proportional and diametrically opposed picture of the chosen field – a hypothetical possibility of considering a mirror in the same place as the photographic cutout (its "reflection" as the photographic counter-field.). Within the larger spatial set this is considered by us to be the only out-of-field that can not be denied in photography and which at the same time can be register as an image. This specific point of view still finds characteristics similar to the mirror image, an image that in its genesis finds a relation of spatial contiguity with the object and that does not have a prior and controlled aesthetic conception. The device of the mirror is fundamental to conceptualize the photographic counter-field and to identify this imaginary field as a hypothetical reflection, a visual message essentially denoted: a neutral image, a purely photographic field. For the conception of the practical project the intention is also to relate the concept of mise en abyme in the attempt to create a reflexive game by means of the assembly of an installation with the photographic images and mirrors; in addition, the variables space and mainly time are highlighted in the relation from the conception of the photographic image to its reception: the possibility of producing meaning through the discourse that can be established in the fundamental encounter between the spectator and a art work