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| Author(s): |
Erika Cazzonatto Zerwes
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
| Defense date: | 2013-12-19 |
| Examining board members: |
Helouise Lima Costa;
Milton Guran;
Fernando Cury de Tacca;
Edgar Salvadori De Decca
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| Advisor: | Iara Lis Franco Schiavinatto |
| Abstract | |
This work focuses on David Seymour's, George Rodger's, Henri Cartier-Bresson's and Robert Capa's war photographs prior to the foundation of Magnum agency. At that moment they were involved in a determined political culture, European left and antifascists circles, and this political allegiance became part of the development of a new visual language. Their war photographs built the foundation for a new photographic language which intended to communicate what they believed to be social and political realities, impacted by and at the same time impacting a visual and a political culture, as well as establishing a model for the photographic reporter profession. Chapter 1 refers to the first months of the Spanish Civil War, when the revolutionary momentum marked Chim's, Capa's and Cartier-Bresson's histories for the French left magazines. Chapter 2 intends to discuss how the photographic practice and the aesthetics developed by them are in some ways part of a tradition and in some ways new, impacting the visual culture especially through the icon images. Chapter 3 intends to stress the different narrative forms, its developments and limits, and how the narrative control gain as well as the photographers' glamorization helped the agency's conception and establishment (AU) | |