Fotografia como crença: construindo narrativas, ressignicando memórias

• Ano de defesa: 2012
• Autor(a) principal: Camila Otto Diniz Ferreira
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: fotografia; Fotografia Aspectos sociais; Fotografia Filosofia; Arte e fotografia; Critica fotografica
• Link de acesso: http://hdl.handle.net/1843/EBAC-9TDN6J

In this paper, I will broach the use of photography as an object of belief, using as an initial study mot, a series of photographies VE(lar), of my own authorship. In this job, I borrow images from a family album, re-photographing them and modifying them through the camera flash. I will discuss the relation between the documentary character of photography and its present situation, where it is seem as an artistic practice an expression-photography. If since its appearing, photography has always carried on this documentary character, from the second half of the 1970s on, many authors started to doubt this conception, considering that in between the real and the image there is an infinity series of other images interposing them, invisible, but operating images. Bringing on the discussion of the relation of photography with the referent, without despising its different aspects and uses, but also considering that the social, economic and sociological conditions affect the production of the image and its reception. Thereby, the photographic image will also depend on the living and cultural baggage of the spectator. We can tell that there is no innocent photography and that any image has a subjective character, and, depending on the context in which is inserted; it can be viewed/ read in different ways. Looking upon photography as a language, I will reflect on its relation to the writing and the orality, always taking into account my artistic practice.