Photographic Evidences

While we wait the elaboration of a critical systematics of the photographic and kinematic evidences, valley the penalty to remember five points, not only to the historians, but to any attemped person to see in photographs necessary registers of the past. It would like to detach, still, that Eduardo France Paiva, affirms that the iconography all brings inlaid the choices of the producer and the context in which it was conceived, but that it constitutes a quantity of possibilities and therefore has that to be explored with very well-taken care of. The image is not depleted in same itself. That is, it has always not to be apprehended beyond what it is, in it, to be given to read or to see. For the researcher of the image it is necessary to go beyond the explicit dimension most visible or of it. It has, as already it said before, gaps, silence and codes that they need to be deciphered, to be identified and to be understood. (PAIVA, 2004, p.19) One becomes necessary to affirm, that the cases are not rare where the photographs are taken as truth, therefore would be portraying faithful a time.

The historians do not have to leave themselves to lead for this trap. In accordance with the author, is important to remember that, the more colorful, most traced, more supposedly next to the reality, more dangerous the image if becomes. The iconographic document if presents as I break up of the Real, full of explicit or occult, voluntary or involuntary intentions of its producers. It fits to the researcher to interpret the directions that the social actors had wanted to attribute its acts. History if dislocates from the fact for versions on the fact. Also, when chores a posteriori, the images are reconstructed. To each time, they apply it the reading values of the gift, making with that it can mean a thing different.



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