Documentary Locus: Three Statements on Self-reference and Narrativity in Photography of Conflict Situations
Keywords:
Photojournalism, Documentary, Index, Iconography, Ideology, Narrative, Self-reference, StatementCopyright (c) 2017 Anuario del Departamento de Historia y Teoría del Arte
This work is licensed under a Creative Commons Attribution 4.0 International License.
Abstract
Press photography and historical documents that come from conflict scenarios have created a new iconography of horror during the twentieth century. These pictures integrate imagery based on compositions, gender and archetypes registered in the history of modern art, but supplement their semantics with an ideological contribution that comes from their status as records of events. Their definition, halfway between the iconographic and the ideological realm, constitutes an arena in which a dialogue between the subjective and the objective of the image is relocated. This paper presents three hypotheses about the characteristics of this subjective positioning revealed by images in their supposedly objective condition for both the photographer and the spectator.
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