Photo-novel and photo reportage: concepts, confluences, (un)limits
Autor(a) principal: | |
---|---|
Data de Publicação: | 2015 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Revista Lumina |
Texto Completo: | https://lumina.ufjf.emnuvens.com.br/lumina/article/view/523 |
Resumo: | Photo-novels appeared in Italy in the mid-1940's. Several factors concurred in their creation: the personal hunch of an editor who envisioned a hybrid form between the sentimental popular romance and comics; the newspaper serials; and the illustrated film abstracts that published in the printed media. We may consider this last component the most significant: the photo-novel is, above all, a by-product of the film industry. Thus, although originally linked to the cinematographic medium, the photo-novel later became a new way of recounting original stories, enjoying great popular success in several countries like France and Brazil, besides Italy itself. Photo reportage, on the other hand, is one of the specific forms of photojournalism. Modern photojournalism originated with the German illustrated magazines of the 1920's and 30's. Photo reportage is not concerned with the isolated image but employs a sequence of images (photographs) to achieve a narrative logic: photo reportage must have a beginning and an ending. The present article draws a parallel between the concepts of photo-novel and photo reportage. It examines the convergences between both genres with regard to critical receptiveness both to their content and to their form – which combines text and image. It also looks at issues related with the concept of narrativity, with the aim of diluting the eventual boundaries between these two narrative forms |
id |
UFRJ-12_89816ffed6853edd3e99cc11918d3525 |
---|---|
oai_identifier_str |
oai:lumina.ufjf.emnuvens.com.br:article/523 |
network_acronym_str |
UFRJ-12 |
network_name_str |
Revista Lumina |
spelling |
Photo-novel and photo reportage: concepts, confluences, (un)limitstext/image relations; photo-novel; photo reportage; photojournalism; editorial design; graphic designPhoto-novels appeared in Italy in the mid-1940's. Several factors concurred in their creation: the personal hunch of an editor who envisioned a hybrid form between the sentimental popular romance and comics; the newspaper serials; and the illustrated film abstracts that published in the printed media. We may consider this last component the most significant: the photo-novel is, above all, a by-product of the film industry. Thus, although originally linked to the cinematographic medium, the photo-novel later became a new way of recounting original stories, enjoying great popular success in several countries like France and Brazil, besides Italy itself. Photo reportage, on the other hand, is one of the specific forms of photojournalism. Modern photojournalism originated with the German illustrated magazines of the 1920's and 30's. Photo reportage is not concerned with the isolated image but employs a sequence of images (photographs) to achieve a narrative logic: photo reportage must have a beginning and an ending. The present article draws a parallel between the concepts of photo-novel and photo reportage. It examines the convergences between both genres with regard to critical receptiveness both to their content and to their form – which combines text and image. It also looks at issues related with the concept of narrativity, with the aim of diluting the eventual boundaries between these two narrative formsLuminaGarcia, Angelo Mazzuchelli2015-12-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://lumina.ufjf.emnuvens.com.br/lumina/article/view/523Lumina; v. 9, n. 2 (2015): Dossiê Intermidialidadee-1981-40701516-0785reponame:Revista Luminainstname:Universidade Federal do Rio de Janeiroinstacron:UFRJenghttps://lumina.ufjf.emnuvens.com.br/lumina/article/view/523/393Direitos autorais 2015 Luminainfo:eu-repo/semantics/openAccess2019-01-29T20:26:34Zmail@mail.com - |
dc.title.none.fl_str_mv |
Photo-novel and photo reportage: concepts, confluences, (un)limits |
title |
Photo-novel and photo reportage: concepts, confluences, (un)limits |
spellingShingle |
Photo-novel and photo reportage: concepts, confluences, (un)limits Garcia, Angelo Mazzuchelli text/image relations; photo-novel; photo reportage; photojournalism; editorial design; graphic design |
title_short |
Photo-novel and photo reportage: concepts, confluences, (un)limits |
title_full |
Photo-novel and photo reportage: concepts, confluences, (un)limits |
title_fullStr |
Photo-novel and photo reportage: concepts, confluences, (un)limits |
title_full_unstemmed |
Photo-novel and photo reportage: concepts, confluences, (un)limits |
title_sort |
Photo-novel and photo reportage: concepts, confluences, (un)limits |
author |
Garcia, Angelo Mazzuchelli |
author_facet |
Garcia, Angelo Mazzuchelli |
author_role |
author |
dc.contributor.none.fl_str_mv |
|
dc.contributor.author.fl_str_mv |
Garcia, Angelo Mazzuchelli |
dc.subject.por.fl_str_mv |
text/image relations; photo-novel; photo reportage; photojournalism; editorial design; graphic design |
topic |
text/image relations; photo-novel; photo reportage; photojournalism; editorial design; graphic design |
dc.description.none.fl_txt_mv |
Photo-novels appeared in Italy in the mid-1940's. Several factors concurred in their creation: the personal hunch of an editor who envisioned a hybrid form between the sentimental popular romance and comics; the newspaper serials; and the illustrated film abstracts that published in the printed media. We may consider this last component the most significant: the photo-novel is, above all, a by-product of the film industry. Thus, although originally linked to the cinematographic medium, the photo-novel later became a new way of recounting original stories, enjoying great popular success in several countries like France and Brazil, besides Italy itself. Photo reportage, on the other hand, is one of the specific forms of photojournalism. Modern photojournalism originated with the German illustrated magazines of the 1920's and 30's. Photo reportage is not concerned with the isolated image but employs a sequence of images (photographs) to achieve a narrative logic: photo reportage must have a beginning and an ending. The present article draws a parallel between the concepts of photo-novel and photo reportage. It examines the convergences between both genres with regard to critical receptiveness both to their content and to their form – which combines text and image. It also looks at issues related with the concept of narrativity, with the aim of diluting the eventual boundaries between these two narrative forms |
description |
Photo-novels appeared in Italy in the mid-1940's. Several factors concurred in their creation: the personal hunch of an editor who envisioned a hybrid form between the sentimental popular romance and comics; the newspaper serials; and the illustrated film abstracts that published in the printed media. We may consider this last component the most significant: the photo-novel is, above all, a by-product of the film industry. Thus, although originally linked to the cinematographic medium, the photo-novel later became a new way of recounting original stories, enjoying great popular success in several countries like France and Brazil, besides Italy itself. Photo reportage, on the other hand, is one of the specific forms of photojournalism. Modern photojournalism originated with the German illustrated magazines of the 1920's and 30's. Photo reportage is not concerned with the isolated image but employs a sequence of images (photographs) to achieve a narrative logic: photo reportage must have a beginning and an ending. The present article draws a parallel between the concepts of photo-novel and photo reportage. It examines the convergences between both genres with regard to critical receptiveness both to their content and to their form – which combines text and image. It also looks at issues related with the concept of narrativity, with the aim of diluting the eventual boundaries between these two narrative forms |
publishDate |
2015 |
dc.date.none.fl_str_mv |
2015-12-01 |
dc.type.none.fl_str_mv |
|
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://lumina.ufjf.emnuvens.com.br/lumina/article/view/523 |
url |
https://lumina.ufjf.emnuvens.com.br/lumina/article/view/523 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://lumina.ufjf.emnuvens.com.br/lumina/article/view/523/393 |
dc.rights.driver.fl_str_mv |
Direitos autorais 2015 Lumina info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Direitos autorais 2015 Lumina |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Lumina |
publisher.none.fl_str_mv |
Lumina |
dc.source.none.fl_str_mv |
Lumina; v. 9, n. 2 (2015): Dossiê Intermidialidade e-1981-4070 1516-0785 reponame:Revista Lumina instname:Universidade Federal do Rio de Janeiro instacron:UFRJ |
reponame_str |
Revista Lumina |
collection |
Revista Lumina |
instname_str |
Universidade Federal do Rio de Janeiro |
instacron_str |
UFRJ |
institution |
UFRJ |
repository.name.fl_str_mv |
-
|
repository.mail.fl_str_mv |
mail@mail.com |
_version_ |
1624478393663750144 |