War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)
In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a...
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Fotocinema
2021-01-01
|
| Series: | Fotocinema: Revista Científica de Cine y Fotografía |
| Subjects: | |
| Online Access: | https://revistas.uma.es/index.php/fotocinema/article/view/11650 |
| _version_ | 1818886527917228032 |
|---|---|
| author | Candela Marini |
| author_facet | Candela Marini |
| author_sort | Candela Marini |
| collection | DOAJ |
| description | In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials. |
| first_indexed | 2024-12-19T16:22:46Z |
| format | Article |
| id | doaj.art-b4dbc943f5214338b69f712f0a1a9f48 |
| institution | Directory Open Access Journal |
| issn | 2172-0150 |
| language | English |
| last_indexed | 2024-12-19T16:22:46Z |
| publishDate | 2021-01-01 |
| publisher | Fotocinema |
| record_format | Article |
| series | Fotocinema: Revista Científica de Cine y Fotografía |
| spelling | doaj.art-b4dbc943f5214338b69f712f0a1a9f482022-12-21T20:14:26ZengFotocinemaFotocinema: Revista Científica de Cine y Fotografía2172-01502021-01-0122War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)Candela Marini0MSOE University, USAIn the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.https://revistas.uma.es/index.php/fotocinema/article/view/11650War PhotographyPacific War, 1879- 1883ChileDíaz & Spencer |
| spellingShingle | Candela Marini War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883) Fotocinema: Revista Científica de Cine y Fotografía War Photography Pacific War, 1879- 1883 Chile Díaz & Spencer |
| title | War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883) |
| title_full | War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883) |
| title_fullStr | War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883) |
| title_full_unstemmed | War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883) |
| title_short | War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883) |
| title_sort | war photography diaz spencer s coverage of the war of the pacific 1879 1883 |
| topic | War Photography Pacific War, 1879- 1883 Chile Díaz & Spencer |
| url | https://revistas.uma.es/index.php/fotocinema/article/view/11650 |
| work_keys_str_mv | AT candelamarini warphotographydiazspencerscoverageofthewarofthepacific18791883 |