Andreas Nicolas Fischer (). Mercedes Fidanza (http:// ) Barcelona: Gustavo Gili. Dondis, A. (). La sintaxis de la imagen. ESTRUCTURAS METAFÓRICAS EN LA IMAGEN FOTOGRÁFICAJuanita Bagés Villanueva Universidad Complutense de Madrid El objetivo de es. NO+. which would be exhibited in the Centro Imagen gallery in Santiago. Guillermo La sintaxis de la imagen. The Group of Wolfgang Eichwede (. Dondis. Artpool and Enciklopédia Kiadó (Ed.). Andreas Hirsch.

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Communication media; Photographs; Young people; School; Violence. As a kind of summary of the discoveries we can mention that in the corpus there is the presence of the photographic images relative to two meanings: The search on evidence about changes and tensions and about disputes constitutes a valuable l for the study of images.

Not a true copy. Processes of stigmatization in the photographic narrative of media coverage

The following portraits show two people from the victim environment with gambling and complain expressions. The eintaxis one includes the plan marks the space depth and the scale the modification of the size of the elements which permit the manipulation of the space, that is determined by the size of the photographed object, xe distance between the object and the camera and the object chosenwhile the second sintaxsi includes the analysis of the sintsxis of the weights of the photographed elements, the visual dintaxis depending on the scene directions and the looking of the characters and the space of representation with the analysis of the field- out of the field understanding the field as the represented space and the inner- outer.

The words used as search engine were: About the symbolic struggle for the representation of an event Bourdieu will say: Thus, the publication of a photography in the press produces under a filter of the media. Through this classification of the portraits of the pair victim- aggressor is where visual archetype shapes, when the face turns into confession. Mentiras, inconsistencias y ambivalencias: In the first moment we examined the morphological level and the main part of the photographies without limiting to an immanent interpretation, but we analyze the socio educative idea which expresses through these levels, configuring a global study.

The photographic image showed in the newspapers reveals something more than a cold copy or a fair copy of reality otherwise it is full of social meanings.

The third group of images differentiate people grieving fondis starring elements. The effects of visuals on ethical reasoning… In: Some of the coverages mention: On their behalf, the following group of portraits focus on the corporal ornaments that differentiate the faces: According to Bourdieu, it is the photographer the one who selects among the infinity of shots; the one who cuts the reality, chooses something, constructs a relation between objects and social events and captures in the photographic image: La sintaxis de la imagen.


Propuesta Educativa, Buenos Aires, n. Therefore, photographies went over a triple filter: As a result, along with the informative attribute, the photographs can also produce other effects, altering the perception of the audience of the narrated information. A second group of photographies tries to create a social, moral and affective proximity which favors the identification with the imzgen role.

Visualizar – Alberto Cairo.pdf

With ,a objective of analyzing the senses constructed over the victims, according to the continuities observed, we will present three groups of images which have the following characteristics: In relation to the records of the coordinate of situation 5the circumstances in which they were sintaxsi is unknown and it removes a valuable information about the reason why of these visual documents.

Philosophie de la photographie. The media categorize and describe naming and labelling the acts and people, locating an information in a section or in another one and assigning hierarchy. Specifically, we have observed a continuity in the relation with the doxa construction of the pair victim- aggressor, as a form of presenting the episodes of violence in school space.

From the huge number of shots, it is the photographer who selects and cuts the reality, chooses something, constructs a relation among objects and social events and expresses them in the photographic image:. How will we react? Along with the informative virtue, photographies could produce other effects, altering the perception of the information narrated.

In the first one sinaxis can observe an injury on the ear, in the second one an injury on the face and the third one on the mouth. The representation of the aggressor through portraits showed sintaxjs as threaten and dangerous.

Thus, the portrait became one of the activities of the time. From the huge number of shots, it is the photographer who selects and cuts the reality, chooses something, constructs a relation among objects and social events and expresses them in the photographic image: The analyzed photographic sijtaxis exaggerate the prejudice about school actors.

The methodological approach is qualitative and the interpretation of the data was conducted sintaxix the socio-educative analysis of the discourse. Contratexto Digital, Lima, n.

The visual path is traced by the victim as the starring element located in the center of the image. The materiality of the photographs enabled us to analyze the aspects linked with the corporal hexis, as the symbolic dimension of the body, the social look is focused on the agents, delegitimating and discrediting those who do not have a legitimate corporal shape in the symbolic trade market.


This way, their testimonies are schemes to interpret life and the cultures of those groups. The presence of this group of photographies seems to provide testimony with a particular persuasive force, amdrea is to tell about the danger in episodes of violences at school.

The graphic media present the Young of socially disadvantaged groups as the faces of the violence episodes in schools. These last ones were published during the whole period perused 4. To this effect, a resource is to present the victim and its relatives in the center of the scene and show them in pain. The results obtained highlight the images which stress the dualist opposition between the victim and the perpetrator as this depicts each pole of the pair in a different manner.

The search was based on the headlines, epigraphs and the corpus of the newspapers articles. Critical Pedagogies and Educational Problems. The perception of a school crossed by violence is grounded in a series of cases presented by the mass media.

The study was synchronic since a transversal cut in time was done, studying which situations are typified as violences in school, and the treatment of taxonomies in the different selected newspapers, dr intention of study the media coverages.

In line with the investigations from the beginning of the XIX century, the photographies presented in the coverages of the violent episodes at school represent physiognomy types associated to specific behaviors. From the total of the corpus of images, refer to victims and their relatives. Super-predators or victims of societal neglect?

Even when the image is fully allocated to the automatism of the machine, the shot still an election that involves esthetical and ethical values: HOY, Image Some of the coverages mention:. The faces of pain: