Sara Castrejón: photographing revolution, representing women
DOI:
https://doi.org/10.24310/Fotocinema.2021.vi22.11694Keywords:
Mexican Revolution, revolutionary photography, studio photography, postcards, vernacular photography, women photographersAbstract
In this article an analysis is presented of Sara Castrejón’s photography of the Mexican Revolution, with the development of Mexican women photographers. This is carried out through a photohistory that employs an historical methodology in which photographs serve as primary sources. Hence, the process is that of history, which is discovering primary sources, among them interviews and, moreover, incorporating secondary sources to contextualize the study. Inquiry is made into how Castrejón made a living in the midst of the civil war, and her political position as compared to that of other studio photographers. Moreover, a feminist perspective is incorporated by examining what opportunities existed for women in this period and how the choices Castrejón made differed from traditional patterns. The particularities of Castrejón’s photography that derived from her gender are examined. Castrejón’s imagery can be considered an example of “vernacular” photography, which is produced outside artistic canons (Batchen, 2000). In this sense, the study could be considered as being inspired by Postmodern photographic theory, which displaces art photography from its discursive dominance.
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