La fotografía en el cine documental: un acercamiento teórico-conceptual para el análisis de narrativas audiovisuales

Abstract

This job is interested in deepening around photography as a social and cultural practice and, at the same time, delimit a theoretical and conceptual frame which allow us to analyze their incorporations in the representations documental audiovisuals frame. A series of questions guide our curiosity and encourage the inquiry around why audiovisual directors and filmmakers incorporate photography in their narratives: what function or satisfaction turns the photographic image on a filmic representation; which relations and meanings enter into the dialogue between the still image and the film textual argument; which senses or resignifications can construct the spectator from these still images embedded in the audiovisual narrative. Initially we made a brief route by the contributions and mainly forgoing around the studies about photography in investigations from an interdisciplinary view. Afterwards, we worked different edges related to the incorporation of the photographic images on documentary audiovisual productions about the trials of those responsible for the violation of human rights during the last civic-military dictatorship in Argentina (1976-1983), focusing the gaze in the relations between recent history, cinema and the representations of reality. Finally we present, on a case witness way, a short analyze about the use of photographs on the documental series “Proyecciones de la Memoria” (Santa fe, 2011) trying to elucidate which motivations and interests guide directors to incorporate photographic images in their audiovisual representation, where the political, ethical and aesthetic dimension adquire a high level of relevance.