The rebellion of the revealed image: looking through “the camera obscura”

Social identity is not necessarily determined by society, however, it is inevitably constructed by it and mediated by its discourse. Each society imposes a conception of the corporeal and the beautiful that, like the word, is subject to a social administration, where the private and the public are i...

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Detalles Bibliográficos
Autor principal: heffes, alejandra
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Humanidades y Artes. UNR 2023
Materias:
photography
body
beauty patterns
fotografía
cuerpo
patrones de belleza
Acceso en línea:https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/278
Aporte de:
Zona Franca de Universidad Nacional de Rosario
id I15-R214-article-278
record_format ojs
spelling I15-R214-article-2782023-10-03T12:51:23Z The rebellion of the revealed image: looking through “the camera obscura” La rebelión de la imagen revelada: mirando a través de “la cámara oscura” heffes, alejandra photography body beauty patterns fotografía cuerpo patrones de belleza Social identity is not necessarily determined by society, however, it is inevitably constructed by it and mediated by its discourse. Each society imposes a conception of the corporeal and the beautiful that, like the word, is subject to a social administration, where the private and the public are intertwined. Thus, the speech works as an instruction on acting, speaking and even thinking, allowing each member to assume the social role that others are able to recognize. These lines invite us to look through the protagonist of the film “The dark camera”, the feminine image that is defined by the establishment of a desired type of woman according to an ideal pattern socially constructed for acting, saying and being silent. However, she is encouraged to discover and explore the confines of the universe at the door of her house, by appropriating the word and re-creating an existence that saves her. Gertrudis moves away from the common place of victimization creating an approach that overcomes by reinforcing marginality with disobedience, imposing itself on invisibility and silence. She was able to question the mandates speaking from silence by expressing her rebellion against a culture of domination, installing the family photograph in the center of her home, in sight, symbolically in the public space. La identidad social no está necesariamente determinada por la sociedad, sin embargo, se encuentra inevitablemente construida por ella y mediada por su discurso. Cada sociedad impone una concepción sobre lo corporal y lo bello que, al igual que la palabra, se halla sometida a una administración social, donde lo privado y lo público se entrelazan. Así el discurso funciona como un instructivo sobre el actuar, el hablar y hasta el pensar permitiéndole a cada integrante asumir el rol social que los demás sean capaces de reconocerle. Estas líneas invitan a mirar a través de la protagonista del film “La cámara oscura”, la imagen femenina que se define mediante la instauración de un tipo deseado de mujer según un patrón ideal construido socialmente para el actuar, el decir y el callar. Sin embargo, ella, se anima a descubrir y explorar los confines del universo en la puerta de su casa, al apropiarse de la palabra y re-crear una existencia que la salve. Gertrudis, se aleja del lugar común de la victimización creando un planteo superador al reforzar la marginalidad con la desobediencia imponiéndose a la invisibilidad y el silencio. Ella fue capaz de cuestionar los mandatos hablando desde el silencio al expresar su rebeldía ante una cultura de dominación, instalando la fotografía familiar en el centro de su hogar, a la vista, simbólicamente en el espacio público. Facultad de Humanidades y Artes. UNR 2023-10-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/278 10.35305/zf.vi31.278 Zona Franca; No. 31 (2023); 168-197 Zona Franca; Núm. 31 (2023); 168-197 Zona Franca; Núm. 31 (2023); 168-197 2545-6504 0329-8019 spa https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/278/379 https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/278/380 Derechos de autor 2023 alejandra heffes http://creativecommons.org/licenses/by-nc-nd/4.0
institution Universidad Nacional de Rosario
institution_str I-15
repository_str R-214
container_title_str Zona Franca
language Español
format Artículo revista
topic photography
body
beauty patterns
fotografía
cuerpo
patrones de belleza
spellingShingle photography
body
beauty patterns
fotografía
cuerpo
patrones de belleza
heffes, alejandra
The rebellion of the revealed image: looking through “the camera obscura”
topic_facet photography
body
beauty patterns
fotografía
cuerpo
patrones de belleza
author heffes, alejandra
author_facet heffes, alejandra
author_sort heffes, alejandra
title The rebellion of the revealed image: looking through “the camera obscura”
title_short The rebellion of the revealed image: looking through “the camera obscura”
title_full The rebellion of the revealed image: looking through “the camera obscura”
title_fullStr The rebellion of the revealed image: looking through “the camera obscura”
title_full_unstemmed The rebellion of the revealed image: looking through “the camera obscura”
title_sort rebellion of the revealed image: looking through “the camera obscura”
description Social identity is not necessarily determined by society, however, it is inevitably constructed by it and mediated by its discourse. Each society imposes a conception of the corporeal and the beautiful that, like the word, is subject to a social administration, where the private and the public are intertwined. Thus, the speech works as an instruction on acting, speaking and even thinking, allowing each member to assume the social role that others are able to recognize. These lines invite us to look through the protagonist of the film “The dark camera”, the feminine image that is defined by the establishment of a desired type of woman according to an ideal pattern socially constructed for acting, saying and being silent. However, she is encouraged to discover and explore the confines of the universe at the door of her house, by appropriating the word and re-creating an existence that saves her. Gertrudis moves away from the common place of victimization creating an approach that overcomes by reinforcing marginality with disobedience, imposing itself on invisibility and silence. She was able to question the mandates speaking from silence by expressing her rebellion against a culture of domination, installing the family photograph in the center of her home, in sight, symbolically in the public space.
publisher Facultad de Humanidades y Artes. UNR
publishDate 2023
url https://zonafranca.unr.edu.ar/index.php/ZonaFranca/article/view/278
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first_indexed 2024-08-12T21:44:01Z
last_indexed 2024-08-12T21:44:01Z
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