Publicada em: 29/03/2017 às 17:00 |
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Estética da Transparência: A origem do fotojornalismo moderno na República de Weimar
Palavras-chave This work aims to investigate some of the aesthetic and political implications of discourses about a supposed photographic transparency concerning artistic appropriations at the beginning of modern photojournalism in the Weimar Republic, from 1925 to 1933. In this sense, the paper refers to Kurt Korff’s explanations on editorial policy changes in “Illustrated Magazines” (1927), and to some of Walter Benjamin’s texts from that period in the context of the critique of the artistic movement known as New Objectivity, for its implications on news production. The investigation suggests a discussion with the production of three important photographers during the above-mentioned period: Albert Renger-Patzsch, Erich Salomon and Felix H. Man. Key-words: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Estética da Transparência |
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