a vida dos outros: desafios e limites do fotojornalismo

Reflectindo sobre diferentes aspectos do fotojornalismo actual, qualquer um destes 3 artigos se aplicam também ao contexto mais amplo daqueles que não sendo fotojornalistas, acabam por trabalhar dentro do género documental, especialmente nas áreas em que estão envolvidas narrativas sobre “a vida dos outros”. As questões mais prementes parecem estar ligadas à ética, sendo uma das mais levantadas a da formação humanista do fotógrafo, num momento em que a técnica, o estilo e a forma de produção são factores menos diferenciadores do trabalho final. É interessante notar que estas questões parecem ir de encontro ao que escrevi no artigo arte, activismo e colectivo, em que a competição, a afirmação individual, ainda supera o sentido de colectivo, de colectividade e de cooperação.

http://dezzigner.files.wordpress.com/2008/09/artwork_images_113308_124988_james-nachtwey1.jpg
afeganistão ©james nachtwey

«three capacities ‘…essential to the cultivation of humanity in today’s world.’

  1. To have ‘…the capacity for critical examination of oneself and one’s traditions – for living what, following Socrates, we may call “the examined life.”‘
  2. To develop ‘…the ability to see [oneself] not simply as citizens of some local regions or groups but also and above all, as human beings bound to all other human beings by ties of recognition and concern.’
  3. To possess ‘…a narrative imagination…[i.e.] the ability to think what it might be like to be in the shoes of a person different from oneself, to be an intelligent reader of that person’s story, and to understand the emotions and wishes and desires that someone so placed might have.’» Digressions On Photojournalism Or Why I Argue What I Argue, um longo ensaio sobre a essência e a ética do fotojornalismo.

For a whole generation of photographers it appears that a wider understanding of ethics and cultural reference is now missing. As a young photographer I aspired to the ideals of those in Magnum, Network, and Rapho. The business was difficult to break into and there were identifiable mentors. No longer. We are all journalists now. And there is an ocean of mediocrity masquerading as the best photojournalism.” Sobre o mesmo tema, este outro Ethics and photojournalism

iraque ©simon norfolk

«Particularly since 9/11, the paradox of the spectacular image has sharpened the line between classic reportage and artistic approaches. The majority of the immediate images of that day’s events were taken by amateurs, while the photojournalists who arrived later focused on the aftermath – a form of reportage that writer and artist David Campany has termed ‘late photography’ (…) ‘The documentary photographer has a terribly difficult life compared with the conceptual artist. But, like Prometheus and Loki, we’re both tied to the same rock.’6 ‘Late photography’ incorporates the seriality of Conceptual art while consciously keeping imagery of disaster at bay. It constitutes what Campany calls ‘a second wave of representation’. How does our impression of the war change if we only see ‘traces’ rather than the ‘faces’?» Shooting Gallery – The limitations of photojournalism and the ethics of artistic representation

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