Fotomontaje como agente revolucionario

Cláudia Raquel Lima

doi:10.24310/Fotocinema.2018.v0i17.5106

Autores/as

Cláudia Raquel Lima Universidad Lusófona do Porto, Portugal Portugal

DOI:

https://doi.org/10.24310/Fotocinema.2018.v0i17.5106

Palabras clave:

Fotomontaje, fotomontaje político, propaganda, Heartfield, El Lissitzky, Klutsis

Agencias: Universidade Lusófona do Porto, Portugal

Resumen

En este artículo, la práctica del fotomontaje se presenta como un agente revolucionario capaz de reconfigurar eventos reales y crear nuevas narrativas basadas en intereses políticos. Para ello, se presentan dos enfoques diferentes sobre el papel del fotomontaje, ambos llevados a cabo en un contexto en el que el escenario político estaba experimentando una profunda reestructuración.

En el primer caso, descrito a través de un análisis de un conjunto de obras de John Heartfield, el fotomontaje se caracteriza por un discurso de oposición a un régimen político fascista en ascenso en Alemania, revelando esta práctica como un medio potencial para proponer una relectura de eventos reales y apelar al sentido crítico del público. En este contexto, podemos decir que el fotomontaje actúa como un arma (anti) política.

En el segundo caso, descrito a través del análisis de un conjunto de obras de autores como Klutsis o El Lissitzky, el fotomontaje se caracteriza por un discurso de acuerdo con una nueva era política que tuvo lugar en la Unión Soviética tras la Revolución de Octubre.

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Biografía del autor/a

Cláudia Raquel Lima, Universidad Lusófona do Porto, Portugal

Cláudia Raquel Lima has a PhD in Digital Media (University of Porto 2015). She is a lecturer of Communication Design at Universidade Lusófona do Porto and researcher at ID+ - Research Institute for Design, Media and Culture.
Her general research interests include communication practices of public libraries on the web, having published a book – “Biblioteca em Rede: Comunicação Integrada no Contexto
das Culturas Participativas“, and several articles in this field. She has also been studying
photography as a social document and its political uses, having already published a set of
articles in this scope.

Citas

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