Mise en scène: photography and staging strategies in the beginnig of the modernity
Autor(a) principal: | |
---|---|
Data de Publicação: | 2010 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Discursos Fotográficos |
Texto Completo: | https://ojs.uel.br/revistas/uel/index.php/discursosfotograficos/article/view/5268 |
Resumo: | With the birth of photography, in 1839, several discussions about the artistic condition of photographic image have been opened. Many authors have defended that the photography must be just an auxiliary tool of the Fine Arts, a mirror with memory that reproduce faithfully the reality. Nevertheless, since her origins, the photography tried to reach an artistic status using staged strategies in order to create images in a dialogue with the artistic and theatrical practices of the epoch. This fictional impulse, based on the staged image, will be a constant in the photographic theories until the beginning of the 20th century. Then, the straight photography displaces the pictorial photography as the photographic main stream. |
id |
UEL-4_1dde0ba743defff67b76fb19968aebfc |
---|---|
oai_identifier_str |
oai:ojs.pkp.sfu.ca:article/5268 |
network_acronym_str |
UEL-4 |
network_name_str |
Discursos Fotográficos |
repository_id_str |
|
spelling |
Mise en scène: photography and staging strategies in the beginnig of the modernityMise en scène: fotografía y escenificación en los albores de la modernidadPhotographyPictorialismStaging strategiesTableu.Análise Fotográfica. Encenação. Pictorialismo. Tableau Vivant.With the birth of photography, in 1839, several discussions about the artistic condition of photographic image have been opened. Many authors have defended that the photography must be just an auxiliary tool of the Fine Arts, a mirror with memory that reproduce faithfully the reality. Nevertheless, since her origins, the photography tried to reach an artistic status using staged strategies in order to create images in a dialogue with the artistic and theatrical practices of the epoch. This fictional impulse, based on the staged image, will be a constant in the photographic theories until the beginning of the 20th century. Then, the straight photography displaces the pictorial photography as the photographic main stream.Con el nacimiento de la fotografía, en 1839, se inauguran una serie de debates a propósito de la artisticidad de la imagen fotográfica. Para muchos, la fotografía debía resignarse a ser uma mera herramienta auxiliar de las Bellas Artes, un espejo con memória que reprodujese fielmente la realidad. Sin embargo, desde SUS orígenes, la fotografía intentó alcanzar un estatus artístico acudiendo a la escenificación como medio para crear imágenes que dialogaban con las prácticas pictóricas y teatrales de la época. Ese impulso ficcional basado en la escenificación será una constante en los discursos fotográficos hasta que a principios del siglo XX la fotografia directa (straight photography) desplace al pictorialismo como corriente fotográfica dominante.Universidade Estadual de Londrina2010-12-07info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionAvaliado pelos paresPesquisa Históricaapplication/pdfhttps://ojs.uel.br/revistas/uel/index.php/discursosfotograficos/article/view/526810.5433/1984-7939.2010v6n9p193Discursos Fotograficos; v. 6 n. 9 (2010); 193-2091984-79391808-5652reponame:Discursos Fotográficosinstname:Universidade Estadual de Londrina (UEL)instacron:UELporhttps://ojs.uel.br/revistas/uel/index.php/discursosfotograficos/article/view/5268/7031Diego, Juan Albarráninfo:eu-repo/semantics/openAccess2017-05-18T17:54:28Zoai:ojs.pkp.sfu.ca:article/5268Revistahttps://www.uel.br/revistas/uel/index.php/discursosfotograficosPUBhttps://www.uel.br/revistas/uel/index.php/discursosfotograficos/oairevistadiscursos@uel.br || laudi@uel.br || discursosfoto@uel.br10.5433/1984-79391984-79391808-5652opendoar:2017-05-18T17:54:28Discursos Fotográficos - Universidade Estadual de Londrina (UEL)false |
dc.title.none.fl_str_mv |
Mise en scène: photography and staging strategies in the beginnig of the modernity Mise en scène: fotografía y escenificación en los albores de la modernidad |
title |
Mise en scène: photography and staging strategies in the beginnig of the modernity |
spellingShingle |
Mise en scène: photography and staging strategies in the beginnig of the modernity Diego, Juan Albarrán Photography Pictorialism Staging strategies Tableu. Análise Fotográfica. Encenação. Pictorialismo. Tableau Vivant. |
title_short |
Mise en scène: photography and staging strategies in the beginnig of the modernity |
title_full |
Mise en scène: photography and staging strategies in the beginnig of the modernity |
title_fullStr |
Mise en scène: photography and staging strategies in the beginnig of the modernity |
title_full_unstemmed |
Mise en scène: photography and staging strategies in the beginnig of the modernity |
title_sort |
Mise en scène: photography and staging strategies in the beginnig of the modernity |
author |
Diego, Juan Albarrán |
author_facet |
Diego, Juan Albarrán |
author_role |
author |
dc.contributor.author.fl_str_mv |
Diego, Juan Albarrán |
dc.subject.por.fl_str_mv |
Photography Pictorialism Staging strategies Tableu. Análise Fotográfica. Encenação. Pictorialismo. Tableau Vivant. |
topic |
Photography Pictorialism Staging strategies Tableu. Análise Fotográfica. Encenação. Pictorialismo. Tableau Vivant. |
description |
With the birth of photography, in 1839, several discussions about the artistic condition of photographic image have been opened. Many authors have defended that the photography must be just an auxiliary tool of the Fine Arts, a mirror with memory that reproduce faithfully the reality. Nevertheless, since her origins, the photography tried to reach an artistic status using staged strategies in order to create images in a dialogue with the artistic and theatrical practices of the epoch. This fictional impulse, based on the staged image, will be a constant in the photographic theories until the beginning of the 20th century. Then, the straight photography displaces the pictorial photography as the photographic main stream. |
publishDate |
2010 |
dc.date.none.fl_str_mv |
2010-12-07 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Avaliado pelos pares Pesquisa Histórica |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://ojs.uel.br/revistas/uel/index.php/discursosfotograficos/article/view/5268 10.5433/1984-7939.2010v6n9p193 |
url |
https://ojs.uel.br/revistas/uel/index.php/discursosfotograficos/article/view/5268 |
identifier_str_mv |
10.5433/1984-7939.2010v6n9p193 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://ojs.uel.br/revistas/uel/index.php/discursosfotograficos/article/view/5268/7031 |
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 |
Universidade Estadual de Londrina |
publisher.none.fl_str_mv |
Universidade Estadual de Londrina |
dc.source.none.fl_str_mv |
Discursos Fotograficos; v. 6 n. 9 (2010); 193-209 1984-7939 1808-5652 reponame:Discursos Fotográficos instname:Universidade Estadual de Londrina (UEL) instacron:UEL |
instname_str |
Universidade Estadual de Londrina (UEL) |
instacron_str |
UEL |
institution |
UEL |
reponame_str |
Discursos Fotográficos |
collection |
Discursos Fotográficos |
repository.name.fl_str_mv |
Discursos Fotográficos - Universidade Estadual de Londrina (UEL) |
repository.mail.fl_str_mv |
revistadiscursos@uel.br || laudi@uel.br || discursosfoto@uel.br |
_version_ |
1799315408894820352 |