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The Rhetoric of the Image

In this short essay entitled “The Rhetoric of the Image”, Barthes analyses the mechanisms of meaning of the image from a semiotic point of view and introduces the famous argument that photography is “a message without a code”, meaning that the relationship between signifier and signification is not arbitrary, and therefore is not regulated by…

Notes on Douglas Crimp’s essay

Postmodernism opens a breach with modernism and the institutions that support it: museums, art history and, in a more complex sense, with photography. Postmodernism has to do with the dispersion of the work of art, its plurality in the sense of the multiplicity of copies (as opposed to pluralism, as freedom in the discursive, practical…

FRAGMENTOS.

Last week saw the public presentation of FRAGMENTS by Alberte A. Pereira at the Apos’trophe gallery in Vigo; the first photobook by this renowned Galician street photographer and the corollary of a series that began some years ago. Some of the images shown in the book have already taken part in exhibitions (Vigo, Coruña, Pontevedra),…

Fiction, experience and reality.

A quick reading of the essay “Fiction, experience and reality: what has film to do with life” by MªIdoya Zorroza, where the author reflects on the reception of cinematic work from an anthropological perspective. The reading of this essay completed my research into Crewdson’s work, where I sought to justify the cinematographic nature of the…

Modernism – The Photograph itself.

“The Work of Art in the Age of Technical Reproducibility” is a fundamental text of aesthetic theory, written in 1937 by Walter Benjamin in which he reflects on the new paradigms in the production and perception of the new visual media that emerged strongly at the beginning of the 20th century: photography and film. Although…


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