Full text
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| Author(s): |
Cyra Maria de Araujo Souza
Total Authors: 1
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| Document type: | Master's Dissertation |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
| Defense date: | 2012-00-00 |
| Examining board members: |
Silvana Barbosa Rubino;
Fernando Cury de Tacca;
Cristina Meneguello;
Gilberto Alexandre Sobrinho
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| Advisor: | Jorge Sidney Coli Júnior |
| Abstract | |
The forensic image, such as those found in the Photo Lab of the Institute of Criminology in São Paulo (IC), are part of a group of visual production that can be called disposable. In addition to its role in the illustrative expert reports (and its force of argument as an index of what happened), photographs of criminal nature (scenes of accidents, crimes, corpus delicti, autopsy procedures, finally, proof / visual material in police investigation and criminal justice) seems, at first, unable to be thought of as capable of other visual interpretations, if not an image that adheres to its material reference. In the academic sphere, for example, the forensic image almost always remains in peripheral and illustrative studies of a historical / sociological criminology related to the subject or variations on urban marginality. An accessory only. Unlike the study performed here as a research subject has a visual collection consists of photographic negatives of crime scenes (group "Blood," the name given to cases of homicide, suicide, corpse encounters and not clarified death, by the Institute of Criminalistics) that occurred in the metropolitan region of Sao Paulo in the period 1987 to 2007. The intention is to treat these images as visual construction and representation, distancing the relationship between photography and indicial primary objective reality to highlight the link between real violence and speeches about violent death and the body with narratives that permeate modern and contemporary visual culture. During the assessment process and choice of images, and from daily contact with photographers in the IC, the study also ended up restoring a history of forensic photography and the police photographer expert in Sao Paulo, mainly through conversations with older professionals still on duty, since there is no politics of preserving files or official historical documentation about the photograph and the photographer expert in São Paulo?s forensic police (AU) | |
| FAPESP's process: | 09/03876-9 - Visions of evil: an aesthetic study of forensic photography in the Museum of Crime in São Paulo |
| Grantee: | Cyra Maria de Araújo Souza |
| Support Opportunities: | Scholarships in Brazil - Master |