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Advisor(s)
Abstract(s)
O presente Ensaio visa refletir sobre o imaginário usado para representar grupos
vulneráveis e marginalizados da sociedade e considerar novas formas de abordagem.
Adotam-se formas alternativas de autoria na produção de imagens, a partir de um projeto
fotográfico participativo que remodela a posição autoral tradicional do fotógrafo por
meio da colaboração da pessoa fotografada, desmontando a ideia do fotógrafo como
observador especial e privilegiado.
Numa estratégia pautada pela valorização da dimensão do encontro entre
aquele que fotografa e aquele que é fotografado, questiona-se a definição convencional
de autoria individual e as relações entre o fotógrafo e os seus sujeitos. Neste estudo,
destacam-se as várias questões que gravitam em torno da representação fotográfica e
ensaia-se a possibilidade subversiva de um desvio as convenções da fotografia
documental através de um projeto prático de fotografia participativa/colaborativa.
Partindo, no contexto da toxicodependência, da identidade do sujeito, constrói-
se uma história visual, tomando como hipótese a redistribuição de lugares na fotografia.
Será também a volta desta redistribuição que se deverá analisar até que ponto a
fotografia documental pode beneficiar com a introdução de práticas colaborativas e
participativas. Simultaneamente, avalia-se se estas práticas fotográficas podem oferecer
uma compreensão mais matizada, complexa e diversificada nas representações
fotográficas de grupos vulneráveis e minorias (e ponderamos uma redefinição do papel
do fotógrafo no contexto da fotografia contemporânea).
Os resultados demonstram que o ato fotográfico pode assumir uma inter-relação
humana entre o registo e a sequência do acontecimento onde o fotógrafo faz algo para
além de fotografar e onde o fotografado faz o acontecimento, mas também o seu registo,
com um poder de decisão do que mostra.
This Essay aims to reflect on the imagery used to represent vulnerable and marginalised groups in society and consider new approaches. Alternative forms of authorship are adopted in the production of images, based on a participatory photographic project that remodels the traditional authorial position of the photographer through the collaboration of the person photographed, dismantling the idea of the photographer as a special and privileged observer. In a strategy guided by the valorisation of the dimension of the encounter between the one who photographs and the one who is photographed, the conventional definition of individual authorship and the relationships between the photographer and his subjects are questioned. In this study, the various issues that revolve around photographic representation are highlighted and the subversive possibility of a deviation from the conventions of documentary photography through a practical participatory/ collaborative photography project is rehearsed. Starting, in the context of drug addiction, from the subject's identity, a visual history is built, taking as a hypothesis the redistribution of places in photography. It will also be around this redistribution that the extent to which documentary photography can benefit from the introduction of collaborative and participatory practices shall be analysed. At the same time, we assess whether these photographic practices can offer a more nuanced, complex and diversified understanding of the photographic representations of vulnerable groups and minorities (and we consider a redefinition of the role of the photographer in the context of contemporary photography). The results demonstrate that the photographic act can assume a human interrelationship between the recording and the sequence of the event where the photographer does something beyond photographing and where the subject does the event, but also its recording, with a power of decision of what is shown.
This Essay aims to reflect on the imagery used to represent vulnerable and marginalised groups in society and consider new approaches. Alternative forms of authorship are adopted in the production of images, based on a participatory photographic project that remodels the traditional authorial position of the photographer through the collaboration of the person photographed, dismantling the idea of the photographer as a special and privileged observer. In a strategy guided by the valorisation of the dimension of the encounter between the one who photographs and the one who is photographed, the conventional definition of individual authorship and the relationships between the photographer and his subjects are questioned. In this study, the various issues that revolve around photographic representation are highlighted and the subversive possibility of a deviation from the conventions of documentary photography through a practical participatory/ collaborative photography project is rehearsed. Starting, in the context of drug addiction, from the subject's identity, a visual history is built, taking as a hypothesis the redistribution of places in photography. It will also be around this redistribution that the extent to which documentary photography can benefit from the introduction of collaborative and participatory practices shall be analysed. At the same time, we assess whether these photographic practices can offer a more nuanced, complex and diversified understanding of the photographic representations of vulnerable groups and minorities (and we consider a redefinition of the role of the photographer in the context of contemporary photography). The results demonstrate that the photographic act can assume a human interrelationship between the recording and the sequence of the event where the photographer does something beyond photographing and where the subject does the event, but also its recording, with a power of decision of what is shown.
Description
Trabalho de projeto
Keywords
Fotografia Participação Colaboração Representação Sujeitos vulneráveis Photography Participation Collaboration Representation Vulnerable subjects