Fotografias vencedoras do Pulitzer na categoria Breaking News: uma análise do fotojornalismo digital

• Autor(a) principal: Sousa, Maria Clara Holanda de
• Data de Publicação: 2021
• Tipo de documento: Trabalho de conclusão de curso
• Idioma: por
• Título da fonte: Repositório Institucional da Universidade Federal do Ceará (UFC)
• Texto Completo: http://www.repositorio.ufc.br/handle/riufc/62612
• topic: Imagem; Fotojornalismo; Jornalismo; Dor; Pathosformel

Understanding the theoretical crossings present in the dynamics of contemporary photojournalism images, in the ocean of images consumed in digital media, as well as analyzing the correlations between these and other images of the present and the past will be the initial provocations of this study, which seeks new ways of approach to the constant advancement of mediatization. In this context, the thought of the art historian, Aby Warburg, is shown in the works of important contemporary authors as an alternative to adequate archeology for new forms of social interaction, dealing with approximations between the fields of communication, art, and image technologies. This study defends the exploration of Warburg's connections as a method of reading images from photojournalism. Based on this assertion, the text explores the relationship between journalism and image, drawing a theoretical approach to investigate how photojournalism developed. The object of analysis is the unique and digital photographs that won the Pulitzer Prize, in the Breaking News category, based on three central questions: How does the press make use of the pain news? Can it be said that most of the awards would be given to photos that show pain and suffering? From a technical point of view, which options would be more common in plans, framing, colors, etc...? To elucidate such issues, the study is based on the thinking of image theorists, such as Walter Benjamin (1987), Roland Barthes (1984), Susan Sontag (2003; 2004), Didi-Huberman (2013), combined with studies on journalism, media, and ethics. To analyze the photographs, Aby Warburg's iconology is used and, together with it, the parameters pointed out by Vilches (1997a), adapted to this case study, intending to enable the completeness of the analysis of the photographs.