Estructura de la imagen documental: tres modulaciones en torno a la condición fotográfica
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2024
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05/04/2024
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Universidad Complutense de Madrid
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Abstract
La aparición de la tecnología fotográfica en el sigo XIX estableció un nuevo tipo de relación entre imagen y realidad. Desde The Pencil of Nature (Talbot, 1844), y a través del concepto que categoriza Philippe Dubois en su libro El acto fotográfico (Dubois,1986), la fotografía se concibe como espejo de la realidad. Dicha concepción estableció un vínculo específico de la fotografía y su capacidad para constituir documentos. Décadas después de su invención, en el núcleo de la sociedad occidental, la fotografía constituye otro tipo de relación: la forma documental. En gran medida, y para este trabajo de investigación, se considerará dicha transición y su consecuente espacio ideológico como el eje que define la idea de fotografía a lo largo del siglo XX en Europa y Estados Unidos. En ese sentido, la concepción de la fotografía se estabilizó hasta el advenimiento de prácticas que parecen vulnerar la propia noción de fotografía como documento: la imagen-construcción. La esencia misma de lo que podría definirse como fotografía se hizo cada vez más compleja, frente a la forma documental que describía la imagen fotográfica como un acontecimiento concreto y veraz, la imagen ha devenido un dispositivo en el que conviven en diferentes formas la realidad...
The development of photographic technology in the 19th century established a new type of relationship between image and reality. Since The Pencil of Nature (Talbot, 1844), and through the concept categorized by Philippe Dubois in his book The Photographic Act (Dubois, 1986), photography is conceived as amirror of reality. This conception established a specific link between photography and its capacity to become a document. Decades after its invention, in the core of Western society, photography establishesanother type of relationship: the documentary form. To a large extent, and for this research work, this transition and its consequent ideological space will be considered as the axis that defines the idea of photography throughout the twentieth century in Europe and the United States. In that sense, the conception of photography became stable until the advent of practices that seem to affect the very notion of photography as a document: the image-construction. The essence of what could be defined as photography became more and more complex, as opposed to the documentary form that described the photographic image as a concrete and truthful event, the image has become a device where reality coexists in different ways...
The development of photographic technology in the 19th century established a new type of relationship between image and reality. Since The Pencil of Nature (Talbot, 1844), and through the concept categorized by Philippe Dubois in his book The Photographic Act (Dubois, 1986), photography is conceived as amirror of reality. This conception established a specific link between photography and its capacity to become a document. Decades after its invention, in the core of Western society, photography establishesanother type of relationship: the documentary form. To a large extent, and for this research work, this transition and its consequent ideological space will be considered as the axis that defines the idea of photography throughout the twentieth century in Europe and the United States. In that sense, the conception of photography became stable until the advent of practices that seem to affect the very notion of photography as a document: the image-construction. The essence of what could be defined as photography became more and more complex, as opposed to the documentary form that described the photographic image as a concrete and truthful event, the image has become a device where reality coexists in different ways...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, leída el 05/04/2024