Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisual
The first generation of motion pictures expands the possibilities of the iconic and indexical qualities of photography, of figuration and contact, as it complicates the links between the image and what is depicted. This paper proposes an analysis of the audiovisual image as a result of a conglomerat...
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| Format: | Article |
| Language: | English |
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Centro Argentino de Investigadores de Arte
2014-11-01
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| Series: | Caiana: Revista de Historia del Arte y Cultura Visual |
| Subjects: | |
| Online Access: | http://caiana.caia.org.ar/template/caiana.php?pag=articles/article_2.php&obj=164&vol=5 |
| _version_ | 1811246842337296384 |
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| author | Agustina Pérez Rial Cristina Voto |
| author_facet | Agustina Pérez Rial Cristina Voto |
| author_sort | Agustina Pérez Rial |
| collection | DOAJ |
| description | The first generation of motion pictures expands the possibilities of the iconic and indexical qualities of photography, of figuration and contact, as it complicates the links between the image and what is depicted. This paper proposes an analysis of the audiovisual image as a result of a conglomeration of signs in a corpus of discourses ranging from early ethnographic film to more recent developments. It consolidated a challenge to the heuristic power traditionally assigned to the image and its epistemic heiress, the motion picture.
The beginning of this journey could be placed at the end of the nineteenth century, a period in which a considerable number of films were produced by way of chronophotography, that had the purpose to document the lives of distant and unknown people. These were the years in which Felix-Louis Regnault, member of the Society of Anthropology of Paris, thought about motion pictures as privileged tool for studying the gestures of the human body and recorded in 1895 the first scenes of an African woman. It is also the time in which ethnography goes hand by hand with colonialism, and cinema becomes a metonymic device of apprehension of the colonized space.
The main purpose of this work is to trace a path that goes from the first uses of chronophotographic devices towards current audiovisual productions. In order to do this, we will study privileged rhetorical tools for the construction of otherness in order to give an account of key moments in the relationship between image and knowledge/science. |
| first_indexed | 2024-04-12T14:59:15Z |
| format | Article |
| id | doaj.art-cac38387d52d4b1cb9b3d7ee636d349a |
| institution | Directory Open Access Journal |
| issn | 2313-9242 2313-9242 |
| language | English |
| last_indexed | 2024-04-12T14:59:15Z |
| publishDate | 2014-11-01 |
| publisher | Centro Argentino de Investigadores de Arte |
| record_format | Article |
| series | Caiana: Revista de Historia del Arte y Cultura Visual |
| spelling | doaj.art-cac38387d52d4b1cb9b3d7ee636d349a2022-12-22T03:28:07ZengCentro Argentino de Investigadores de ArteCaiana: Revista de Historia del Arte y Cultura Visual2313-92422313-92422014-11-015116125Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisualAgustina Pérez Rial0Cristina Voto 1 FSOC - UBA, Buenos AiresFADU - UBA - CONICET, Buenos AiresThe first generation of motion pictures expands the possibilities of the iconic and indexical qualities of photography, of figuration and contact, as it complicates the links between the image and what is depicted. This paper proposes an analysis of the audiovisual image as a result of a conglomeration of signs in a corpus of discourses ranging from early ethnographic film to more recent developments. It consolidated a challenge to the heuristic power traditionally assigned to the image and its epistemic heiress, the motion picture. The beginning of this journey could be placed at the end of the nineteenth century, a period in which a considerable number of films were produced by way of chronophotography, that had the purpose to document the lives of distant and unknown people. These were the years in which Felix-Louis Regnault, member of the Society of Anthropology of Paris, thought about motion pictures as privileged tool for studying the gestures of the human body and recorded in 1895 the first scenes of an African woman. It is also the time in which ethnography goes hand by hand with colonialism, and cinema becomes a metonymic device of apprehension of the colonized space. The main purpose of this work is to trace a path that goes from the first uses of chronophotographic devices towards current audiovisual productions. In order to do this, we will study privileged rhetorical tools for the construction of otherness in order to give an account of key moments in the relationship between image and knowledge/science.http://caiana.caia.org.ar/template/caiana.php?pag=articles/article_2.php&obj=164&vol=5devicefilmchronophotographyrepresentationotherness |
| spellingShingle | Agustina Pérez Rial Cristina Voto Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisual Caiana: Revista de Historia del Arte y Cultura Visual device film chronophotography representation otherness |
| title | Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisual |
| title_full | Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisual |
| title_fullStr | Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisual |
| title_full_unstemmed | Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisual |
| title_short | Nuevos juguetes para un etnógrafo ansioso: derroteros del registro audiovisual |
| title_sort | nuevos juguetes para un etnografo ansioso derroteros del registro audiovisual |
| topic | device film chronophotography representation otherness |
| url | http://caiana.caia.org.ar/template/caiana.php?pag=articles/article_2.php&obj=164&vol=5 |
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