Um filme em dois tempos
The present research analyses the contemporary photography as a result of the photographer’s freedom of choice. It understands the photography as an entity whose senses result of the fusion of horizons, which belong to the artist and the observer. It sustains that the result of the artwork is a cons...
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| Formato: | bachelorThesis |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/33999 |
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| Resumo: | The present research analyses the contemporary photography as a result of the photographer’s freedom of choice. It understands the photography as an entity whose senses result of the fusion of horizons, which belong to the artist and the observer. It sustains that the result of the artwork is a construction process of the photographer artist, freeing oneself of the early aesthetic demands and expressing a reflection of the captured image. It proposes that the photography, as perceived, assumes its own existence, as an entity in accordance with M. Heidegger’s existential ontologism. It embraces, thus, the timeless criteria to the photography’s existence, invoking two distinct moments, the first situated in previous events of coronavirus’ pandemic and the last already in its advent. The research seeks to extract from serendipity images that, in the two aforementioned periods, still find themselves attached to the inherent free choice of the artist. It establishes a perspective that in one photographic film, the moment’s ephemerality, yet depleted in its instant, makes it, the photography, permanently existent in its own happening. |
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