Andreas Nicolas Fischer (). Mercedes Fidanza (http:// ) Barcelona: Gustavo Gili. Dondis, A. (). La sintaxis de la imagen. ESTRUCTURAS METAFÓRICAS EN LA IMAGEN FOTOGRÁFICAJuanita Bagés Villanueva Universidad Complutense de Madrid El objetivo de es. NO+. which would be exhibited in the Centro Imagen gallery in Santiago. Guillermo La sintaxis de la imagen. The Group of Wolfgang Eichwede (. Dondis. Artpool and Enciklopédia Kiadó (Ed.). Andreas Hirsch.

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The photographic image showed in the newspapers reveals something more than a cold copy or a fair copy of reality otherwise it is full of social meanings. With the objective of analyzing the senses constructed over the victims, dr to the continuities observed, we will present three groups of images which have the following characteristics: From the total of the corpus of images, refer to victims and their relatives.

These senses reinforce the social beliefs that form the practical sense of the doxa. La sintaxis de la imagen. The graphic media present the Young of socially disadvantaged groups as the faces of the violence episodes in schools. A second group of photographies tries to create a social, moral and affective proximity which favors the identification with the victim role.

The search on evidence about changes and tensions and about disputes constitutes a valuable aspect for the study of images. The qualitative methodology is consistent with the interest of dohdis work to Access to a comprehension of the phenomenon studied that enables come to interpretative knowledge and elaborate substantial hypothesis.

Therefore, Le Breton notices that the photographic spreading of some groups will not take long in turning into a social control tool with judicial and repressive identification purposes.

The data we gather from the newspapers articles are alarming: The photography is the result of a decision that involves esthetic and ethical values, and constitutes one decision among the ones possible.

This aspect was revealed with the study of the morphological level and the main level. The effect on the perception of the issue informed stands nucleus of common sense like the one of collaborating in the construction of the pair victim- aggressor. Propuesta Educativa, Buenos Aires, n. On their behalf, the following group of portraits focus on the corporal ornaments that differentiate the faces: As a result, along with the informative attribute, the photographs can also produce other effects, altering the perception of the audience of the narrated information.


The objective was to approximate to the effects of the images diffused by the graphic media chosen, using as documents the material thickness 9 of the photographs used.

In relation to the field work, in a first phase we peruse the articles from the four newspapers mentioned previously. How will we react? Even though the actors define what can be photographed, this act is the product of schemes of perception.

Due to the volumen of the corpus, it is appropriated to clarify that in the analysis it is not made an allusion to all of the dondid. The presence of this group of photographies seems to provide testimony with a particular persuasive force, that is to tell about the danger in episodes of violences condis school. The following portraits show two people from the victim environment with gambling and complain expressions. Young of social disadvantaged groups are presented as the faces of insecurity and the violence in school space.

This first picture stands out a gun as the starring element. The methodological approach is qualitative and the interpretation of the data was conducted by the socio-educative analysis of the discourse.

In line with the investigations from the beginning of the XIX century, the photographies presented in the coverages of the violent episodes at school sintwxis physiognomy types associated to specific behaviors.

The search was based on the headlines, epigraphs and the corpus of the newspapers articles. In this article we approached an analysis of the photographies used in the coverages of violences in school space.

Now then, focusing on the photographic images published in the written press we observe that they express a social intention, more or less explicit, more or less dormant.

HOY, Image They are the chaos faces. Identidades, sujetos y subjetividades. Along these lines, associate the social construction of violences in school with the actions of journalism.

The effects of the photographic images remain for a long time, especially supplying the memory and the restoring of the information to use it for future situations. This seems to be an indicator of its social value and its representation. The second moment was the one of photographic analysis.

So, in the corpus studied we considered some aspects as the corporal expressions, the outfits and the corporal ornaments of the photographed subjects.

Visualizar – Alberto Cairo.pdf

This way, their testimonies are schemes to interpret life and the cultures of those groups. The reconstruction of the social wave from the media can be powerful. This process was achieved with the link with the whole of the journalism coverages published. Trabajo presentado en Juvenile Crime Coverage. From XIX century the images symbolize a power that noses up and classifies the individuals to place them in classificatory systems.


Next a group of portraits which seem to have the purpose of telling the condition of the victim. In this article, the main findings of a study are presented which reveals and interprets the discourses and images about violence in school ambience in the newspapers of the city of La Plata in Argentina.

Critical Pedagogies and Educational Problems. Due to the characteristics of the object of study the methodological approach was qualitative, assuming the inquiry an exploratory nature. According to Bourdieu, it is the photographer the one who selects among the infinity of shots; the one who cuts the reality, chooses something, constructs a relation between objects and social events and captures in the photographic image: As symbolic representations, these images are just a little know of a larger skein of conflicts and interests and they are impregnated of intolerance and incomprehension.

The visual imaggen is traced by the victim dondks the starring element located in the center of the image. Communication media; Photographs; Young people; School; Violence.

Not a true copy. Processes of stigmatization in the photographic narrative of media coverage

The visual path is traced by the human figures that aim the gun towards the outside of the field. To this effect, a resource is to present the victim and its relatives in the center of the scene and show them in pain.

The representation of the body is being inscribed for more than a century in policies of control and discipline. From the huge number of shots, it is the photographer who selects and cuts the reality, chooses something, constructs a relation among objects and social events and expresses them in the photographic image:.