What Does Photography Do to The Body?
And What Does the Body Do to Photography?
DOI:
https://doi.org/10.24215/24691879e047Keywords:
Photography, body, gender, intersectionalityAbstract
In November 2021 we meet at the Photography History Seminar of the UNLP Faculty of Arts in a talk about the relationship between photography and the body. This work takes up some of those conversations and analyzes the ways in which photography as a device constructs corporalities in the experience of being captured by the camera and of looking. From an intersectional gender perspective, we investigate the possible links within a body of images still in formation: The Hidden Mother (2013) by Linda Fregni Nagler, 97 domestic employees (2010) by Daniela Ortiz and Semiotics of the Kitchen (1975) by Martha Rosler.References
Arriegue, G. (25 de octubre de 2021). Máscaras de lo invisible. Mujeres escondidas en los retratos del siglo XIX. http://somosturma.com/tag/madres-escondidas/
Andruetto, M. T. (2021). Una fotografía en blanco y negro con los bordes ajados. En Extraño oficio (pp. 162-163). Literatura Random House.
Barthes, R. (1996). La cámara lúcida. Paidós.
Benjamin, W. (2007). Pequeña historia de la fotografía. En Conceptos de Filosofía de la Historia (pp. 183-200). Terramar.
Expósito, M. (2010). D-O 1-5. En el año 2006, la joven artista peruana Daniela Ortiz de Zevallos solicita ayuda a la rama adinerada de su familia para poder trasladarse a vivir a Europa. En D. Ortiz, 97 empleadas domésticas (pp. 49-54). https://www.daniela-ortiz.com/publicaciones
Flores, v. (2019). Una lengua cosida de relámpagos. Hekht.
Fregni Nagler, L. (2013). The hidden mother. MACK.
Galindo, M. (2021). La jaula invisible. En I. Diéguez y A. Longoni (Coords.), Incitaciones transfeministas (pp. 23-34). Ediciones DocumentA/Escénicas.
González-Stephan, B. (2013). Cuerpos in/a-propia-dos: carte-de-visite y las nuevas ciudadanías en la pardocracia venezolana postindependentista. Memoria y sociedad, 17(34), 14-32.
Lopes Louro, G. (1999). Pedagogías de la sexualidad. En G. Lopes Louro (Comp.), O corpo educado Pedagogías de la sexualidade. Editorial Autentica.
Platero, L. (2013). Marañas con distintos acentos. Género y sexualidad en la perspectiva interseccional. Encrucijadas Revista Crítica de Ciencias Sociales, (5), 44-52.
Pultz, J. (2003). El cuerpo en la fotografía. En La fotografía y el cuerpo (pp. 7-11). Akal.
Apr1390. (5 de julio de 2022). Martha Rosler. Semiotics of the kitchen. [Archivo de video]. Youtube. https://www.youtube.com/watch?v=rNCbWpF53Xo
Skliar, C. (2017). Pedagogía de las diferencias. Noveduc.
Taylor, D. (2009). Cuerpos políticos. En M. Brodsky y J. Pantoja (Coords.), Body politics. Políticas del cuerpo en la fotografía latinoamericana (pp. 21-31). La Marca Editora.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Cecilia Cappannini
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
The acceptance of the manuscript by the magazine means the non-exclusive cession of the property rights of the authors in favour of the editor, who allows the reuse, after publication (post print), under a license Attribution-NonCommercial-NoDerivatives 4.0 International.
According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.
The cession of non-exclusive rights means that after the publication (post print) in Nimio the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine. Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the Universidad Nacional de La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.
Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.
