Detalhes bibliográficos
| Ano de defesa: |
2016 |
| Autor(a) principal: |
Costa, Maria Auxiliadora Leite
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| Orientador(a): |
Motta, Leda Tenorio da |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/19539
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Resumo: |
The study object of this dissertation is the couture phenomenon connected with photography’s mechanical reproduction. In this sense, it investigates the origins of couture origin while circumscribing it to Walter Benjamin’s definition of the aura concept. Also, it approaches the aura’s loss under the growing diffusion of fashion photography. Given these facts, the study develops the argument that couture built a structure based on the dialectics of distance and proximity, which are the foundations of the, and whose incidence occurred in two different ways: 1) in the material existence of the garment produced in this dialectics, in its uniqueness, rarity and, subsequently, authenticity, all linked to the know-how tradition and 2) in the perception of distance of the produced garment in the couture context. Conversely, the argument presents that the diffusion of fashion photography shattered the perception of distancing and, paradoxically, the need for the garment’s presence to form fashion and consumption trends, therefore removing the auratic character from couture and weakening its power. Aiming at circumscribing Benjamin’s concept of aura in the field of couture, this research conducted an immersion in Benjamin’s expansion of Marx’s method of historical materialism as well as its profound consequences in the concept of history itself, without which it would be impossible to acknowledge any circumscription. Besides, some fashion editorials have been selected for containing works of well-known professionals such as Tim Walker, Nick Knigth, Andrew Fee, and Koo Bohn Chang, in the sense of evaluating the possibility for fashion photography to stand as a legitimate form of expression and experimentation as well as photographic construction, thus overcoming what Benjamin called creativity fetishism, a mere artifice of photomontage. Last, this research aims at shedding light over this important media phenomenon: fashion |
