Comunicación y memoria: el fotoperiodismo como testigo de la violencia. Fuentes documentales de la Guerra Civil Española (1936-1939)
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2014
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Servicio de Publicaciones, Universidad Complutense
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Parras Parras, A. y R. Cela, J. (2014). Comunicación y memoria: el fotoperiodismo como testigo de la violencia. Fuentes documentales de la Guerra Civil Española (1936-1939). Historia y Comunicación Social. Vol. 19. Páginas 113-131. https://doi.org/10.5209/rev_HICS.2014.v19.47288
Abstract
Durante la Guerra Civil Española (1936-1939), el fotoperiodismo conoce su edad de oro gracias a míti- cos fotógrafos extranjeros, como Robert Capa o Gerda Taro, pero también gracias a los fotógrafos españoles que debido a su compromiso con la causa republicana, vieron su trabajo relegado al ostra- cismo. Su memoria sólo comenzó a ser reivindicada y valorada tras la muerte de Franco y la llegada de la democracia a nuestro país. De este modo, veremos frente a frente las nuevas fuentes documentales del fotoperiodismo extranjero y el trabajo de los fotoperiodistas españoles, quienes fueron los grandes desconocidos, aunque ellos también inmortalizaron las principales batallas, y a las víctimas civiles del conflicto.
Throughout the Spanish Civil war (1936-1939) photojournalism meets its known as Golden Age, specially because of mythical photographers such as Robert Capa or Gerda Taro. However, it is also owing to the work of spanish photographers whose work was concealed by the dictatorship because of their truly commitment with the republican cause. Their memory, their work, started to be appreciate only after Franco’s death and only once the democracy finally arrived to our country. Thus, we will see face-to-face the new documentary sources of information about foreign photojurnalism versus the spanish big-unknown photographers, they were who inmortalized the main battles and the inocent victims of the war.
Throughout the Spanish Civil war (1936-1939) photojournalism meets its known as Golden Age, specially because of mythical photographers such as Robert Capa or Gerda Taro. However, it is also owing to the work of spanish photographers whose work was concealed by the dictatorship because of their truly commitment with the republican cause. Their memory, their work, started to be appreciate only after Franco’s death and only once the democracy finally arrived to our country. Thus, we will see face-to-face the new documentary sources of information about foreign photojurnalism versus the spanish big-unknown photographers, they were who inmortalized the main battles and the inocent victims of the war.