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| Author(s): |
Lívia Maria de Oliveira Furlan
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | Artes. 2022-11-04. |
| Institution: | Universidade Estadual Paulista (Unesp). Faculdade de Arquitetura. Artes. Comunicação e Design. Bauru |
| Defense date: | 2022-09-21 |
| Advisor: | Denis Porto Renó |
| Abstract | |
Sebastião Salgado is a world reference for his social photography, which historically revealed human beings in situations of poverty, misery, tragedies and in society's movements that influenced human migrations across the globe. From these stories, works such as Êxodos originated, which, when its production ended, took Salgado into depression. Because of this, the photographer and his wife, Lélia, returned to Aimorés (MG) to take care of the old farm belonging to Salgado's parents. There, he saw environmental degradation. A land as sick as he himself was. It was his wife who had the idea of reforesting the Atlantic Forest on that silted and lifeless piece of land. Instituto Terra was created and, together with it, Sebastião Salgado obtained a cure for his depression. As a result, he photographed 32 reports over eight years, portraying what is still ecologically pure in the world. The photographs gave rise to the work Genesis. Based on this knowledge, the present research questioned how the photographer's change of view from Exodus to Genesis would have occurred and what changed when Salgado made photography. The objective was to find out if, through the photographer's approach to the object to be recorded, photography would have the capacity to build a transformation in the photographic agent. For this, we used the bibliographic survey and the open in-depth interview to deepen the knowledge about Salgado and his works. And, for the analysis of the photos, the methodology of connotations was used, a hybrid of the theories of Barthes (2000) and Eco (1997). This method was necessary to decompose the photographs into their elements and analyze them in order to interpret their connotations and understand the photographer's changes in his work. The results obtained emphasise the change experienced by Sebastião thanks to his contact with nature through Instituto Terra; the essence of your photographs; and maintains the questioning about the paradigm of approximation between journalists and their objects of work. (AU) | |
| FAPESP's process: | 20/05870-7 - The reporter's transformation and his meeting with nature: the difference between Exodus and Genesis look, of Sebastião Salgado |
| Grantee: | Lívia Maria de Oliveira Furlan |
| Support Opportunities: | Scholarships in Brazil - Master |