Rediscovering the (extra)ordinary : missed experience and South African documentary photography

Wiesner, André (avtor)

Under apartheid, activist and commercial photographers confronted violent, traumatic events, and their exposure of these to the wider world played a key role in bringing about the downfall of the state. Post-apartheid, documentary photography has generally taken a different direction, directing attention to the surrounding society, and making good on all manner of missed experiences. In their move to peripheral situations, photographers dignify the culture-making of ordinary folk. The persons in the photographer's gaze are frequently those caught in the shock waves of hostilities (Guy Tillim), afflicted by a dread epidemic (Kim Lubdrook), or exposed to a diffuse condition of endangerment, like violent criminality (David Southwood). Photographers are themselves in a way fatally endangered from afar and their attempts to visualise what is out of frame can be seen as a form of self-defence and passionate search in a bid to come to terms with trouble. Theessay probes the post-apartheid state of documentary photography and its current directions.

• Jezik: Angleški jezik
• Vrsta gradiva: Delo ni kategorizirano
• Tipologija: 1.01 - Izvirni znanstveni članek
• Organizacija: FDV - Fakulteta za družbene vede
• Leto izida: 2007
• Št. strani: Str. 7-29
• Številčenje: Vol. 14, no. 3
• PID: 20.500.12556/RUL-74942
• UDK: 316.7:77
• ISSN pri članku: 1318-3222
• COBISS.SI-ID: 26701405
• Datum objave v RUL: 21.12.2015

Gradivo je del revije

• Naslov: Javnost = The public
• Skrajšan naslov: Javnost
• Založnik: Taylor & Francis, European Institute for Communication and Culture
• ISSN: 1318-3222
• COBISS.SI-ID: 40119808

Sekundarni jezik

• Jezik: Neznan jezik

Izvleček

V času apartheida so aktivisti in komercialni fotografi beležili nasilne in travmatične dogodke. Ko se z njimi seznanil ves svet, je to bistveno prispevalo k padcu režima. Potem je dokumentarna fotografija ubrala druga pota; pozornost je bila usmerjena na družbo in zamujene izkušnje. S pozornostjo obrobnim situacijam fotografi častijo "delanje kulture" med navadnimi ljudmi. Fotografski pogled pogosto ujame osebe, ki so ujete v valove sovražnosti (Guy Tillim), prizadete z epidemijo (Kim Lubdrook) ali izpostavljene razpršeni nevarnostim, npr. nasilnemu kriminalu (David Southwood). Članek obravnava stanje dokumentarne fotografije po apartheidu in njene sedanje usmeritve.