20.500.12556/RUL-131436 Zapisane v čas: ženske na vojnih in povojnih fotografijah diplomsko delo Frozen in time: the portrayal of women in war and post-war photographs Fotografija velja za najbolj konkretno referencialen medij, ki beleži čas in zaustavlja podobe, ki so se v določenem zgodovinskem trenutku znašle pred objektivom. Ravno zaradi pričevanja o eksistenci določenega pojava ali bitja, sem si jo izbrala kot glavni navdih pri utemeljevanju večkrat problematične dokumentarne praznine v zgodovini žensk. Želela sem pokazati, da fotografije lahko zapolnijo takšen manko, če si prizadevamo in jih iščemo. Kot vir pričevanja ima svoje omejitve, saj je potrebno upoštevati vedno prisotne tendence fotografa in kontekst, v katerem je bila fotografija posneta. Dokumentarnost tako ni nujno tudi objektivnost, pač pa vrednotenje določenega trenutka, ki si ga je izbral fotograf in ga označil kot vrednega fotografiranja. Slednje se je pomembno zavedati sploh v času druge svetovne vojne, za katero lahko trdimo, da je bila tudi vojna podob, v kateri je videz odigral pomembno vlogo. Zanimala sta me predvsem (partizanska) vojna in povojna izkušnja žensk ujeta na fotografijah, saj gre za prelomno obdobje, ko ženske stopijo iz sfere zasebnost v javnost. V delu raziskujem predvsem ozadje fotografij pri liku bork in pri liku (partizanskih) mater. Vodilo me je vprašanje, koliko so bili revolucionarni koraki res revolucionarni in koliko tradicionalni v novi povojni preobleki. Kot dragoceno nahajališče izbranih fotografij se je izkazala fototeka Muzeja novejše zgodovine Slovenije. Z izbrano literaturo sem podkrepila historično ozadje fotografskih podob. Photography is considered to be paramount reference medium that records time and stops images in front of the lens at the certain historical moment. Because of the testimonies of the existence of a certain phenomenon or being, I chose it as the main inspiration for the often problematic documentary gap in the history of women. I wanted to display that photos can fill such documentary gap, but we have to strive and seek them out. As a source of testimony, it has its limitations, as the photographer’s tendencies and the context in which the photograph was taken are always present. Documentarity is thus not necessarily objectivity, but the evaluation of a certain moment, chosen by the photographer and marked as worth photographing. The latter is important to be aware of at all during the Second World War, for which we can argue that the war, in which appearance was played important role. I was mainly interested in the (partisan) war and the post-war experience of a woman captured in photographs, as this is a turning point when women stepped out of the sphere of privacy in the public. In this work, I mainly explore the background of photographs in the character of the fighters and in the character of (partisan) mothers. I was guided by the question of how revolutionary the revolutionary steps really were and how traditional in the new post-war disguises. The photo library of the Museum of Modern History of Slovenia has proved to be a valuable location for selected photographs. With selected literature, I reinforced the historical background of the photographic images. dokumentarna praznina fotografija druga svetovna vojna partizanka-borka partizanska mati socializem documentary void photography World War II partisan fighter partisan mother socialism true false false [M. Kužner Čelesnik] Slovenski jezik Angleški jezik Diplomsko delo/naloga 2021-09-27 07:16:33 2021-09-27 07:16:38 2022-09-10 04:11:39 0000-00-00 00:00:00 2021 0 Ljubljana 0 Ljubljana 34 str. 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 94(3) 484196 78635523 14211.pdf 14211.pdf 1 2F06227DDB65FDDB76BD1E42029B3F19 97086a2737f2b1146e09a5dd4c4b3160612503d1ac0cf888222614e89ba3f3d7 cfb5546a-1f51-11ec-a523-00155dcfd717 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=148753 Filozofska fakulteta 0 0 0