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Publication
Aspectos do documentário e da intimidade na fotografia: contemporaneidade/imagens/superação
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 2795 | 38.31 MB | Adobe PDF |
Advisor(s)
Abstract(s)
Esta tese procura investigar a fotografia enquanto potencial imagem do mundo, em resultado de uma prática documental e de uma prática artística subjectiva. A noção de “documentário” e de “intimidade” são também aspectos a estudar. Em virtude da crescente hibridização entre o real e o ficcional na fotografia contemporânea, a fotografia é assumida como uma prática complexa que impõe a necessidade de uma profunda reflexão. O estudo da história da fotografia e dos diferentes discursos estéticos e críticos em torno da representação do real, o estudo de diferentes práticas documentais e também da forma como a intimidade passa a fazer parte de um novo caminho na fotografia documental são objectos de estudo. Procura-se contextualizar as novas correntes da fotografia contemporânea e contribuir para o recorrente debate sobre as fronteiras que delimitam os discursos artísticos e críticos da própria prática fotográfica. Em consequência da impossibilidade de se proceder a uma investigação que englobe, de forma inequívoca, toda a variedade de práticas e discursos que dominam o campo da fotografia, esta tese apresenta como eixo central a fotografia documental, o seu legado de verosimilhança com o real e a inclusão da intimidade na sua esfera sob a perspectiva da prática fotográfica enquanto exercício da expressão fragmentária do artista. De forma a sustentar a argumentação teórica aqui defendida, é apresentada uma reflexão sobre a prática fotográfica, analisando um trabalho de Jocob Aue Sobol e outro de JH Engstrom.
This thesis aims to investigate photography as a potential image of the world, resulting from both documentary and subjective artistic practices. Additionally, the concepts “documentary” and “intimacy” will also be explored. Due to the increasing hybridization between reality and fiction in contemporary photography, photography is perceived as a complex practice that requires deep reflection. The study encompasses the history of photography, different aesthetic and critical discourses surrounding the representation of reality, various documentary practices, and the incorporation of intimacy as a new path in the documentary realm. The objective is to contextualise the new trends in contemporary photography and contribute to the ongoing debate about the boundaries that define artistic and critical discourses within photographic practice. Given the impossibility of conducting an unequivocal investigation encompassing the full range of practices and discourses that dominate the field of photography, this thesis focuses primarily on documentary photography. It explores its legacy of verisimilitude with reality and the inclusion of intimacy within its sphere, viewed from the perspective of photographic practice as an exercise in the artist's fragmented expression. To substantiate the theoretical argument presented, a reflection on photographic practice is offered, analysing the works of Jacob Aue Sobol and JH Engstrom.
This thesis aims to investigate photography as a potential image of the world, resulting from both documentary and subjective artistic practices. Additionally, the concepts “documentary” and “intimacy” will also be explored. Due to the increasing hybridization between reality and fiction in contemporary photography, photography is perceived as a complex practice that requires deep reflection. The study encompasses the history of photography, different aesthetic and critical discourses surrounding the representation of reality, various documentary practices, and the incorporation of intimacy as a new path in the documentary realm. The objective is to contextualise the new trends in contemporary photography and contribute to the ongoing debate about the boundaries that define artistic and critical discourses within photographic practice. Given the impossibility of conducting an unequivocal investigation encompassing the full range of practices and discourses that dominate the field of photography, this thesis focuses primarily on documentary photography. It explores its legacy of verisimilitude with reality and the inclusion of intimacy within its sphere, viewed from the perspective of photographic practice as an exercise in the artist's fragmented expression. To substantiate the theoretical argument presented, a reflection on photographic practice is offered, analysing the works of Jacob Aue Sobol and JH Engstrom.
Description
Keywords
Fotografia Real Fotografia documental Subjectividade Intimidade Documentário imaginário Diário íntimo Photography Reality Documentary photography Subjectivity Intimacy Imaginary documentary Intimate diary