ANDREA DONDIS LA SINTAXIS DE LA IMAGEN PDF

Andreas Nicolas Fischer (). Mercedes Fidanza (http:// ) Barcelona: Gustavo Gili. Dondis, A. (). La sintaxis de la imagen. ESTRUCTURAS METAFÓRICAS EN LA IMAGEN FOTOGRÁFICAJuanita Bagés Villanueva Universidad Complutense de Madrid El objetivo de es. NO+. which would be exhibited in the Centro Imagen gallery in Santiago. Guillermo La sintaxis de la imagen. The Group of Wolfgang Eichwede (. Dondis. Artpool and Enciklopédia Kiadó (Ed.). Andreas Hirsch.

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Communication media; Photographs; Young people; School; Violence. It is proof that it is easier to think in images than in texts when trying to remember the information communicated by the media COLEMAN, Andrex, inconsistencias y ambivalencias: The objective was to approximate to the effects of the images diffused by the graphic media chosen, using as documents the material thickness 9 of the photographs used.

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How will we react? This process was achieved with the link with the whole of the journalism coverages published.

The photography is the result of a decision that involves esthetic and ethical values, and constitutes one decision among the ones possible. Through this classification of the portraits of the pair victim- aggressor is where visual archetype shapes, when the face turns into confession.

Along these lines, associate the social construction of violences in school with the actions of journalism. The qualitative methodology is consistent with the interest dondus our work to Access to a comprehension of the phenomenon studied that enables come to interpretative knowledge and elaborate substantial hypothesis.

This photographic record is not a neutral either aseptic documentation. The selection criteria for the presentation of the data consisted in choosing those which express continuities in the meaning, in the attempt of observing forces in tension which result would be the change or the continuity of a form of a system, may be a world view. In the first moment, we classified the photographic images by similarity on the figured content and two large groups were formed: In line with the investigations from the beginning of the XIX century, the photographies presented in the coverages of the violent episodes at zndrea represent physiognomy types associated to specific behaviors.

From the huge number of shots, it is the photographer who selects and cuts the reality, chooses something, constructs a relation among objects and social events and expresses them in the photographic image: Young of social disadvantaged groups are presented as the faces of se and the violence in sinraxis space. As the media produce series which include more episodes of violence occurred in school stage, the feeling of a school associated to violence prevails with increasing certainty in the public opinion.

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The portraits evidence forms of arrangements, aspects and presentation that indicate a sense of belonging to an age and social group: Specifically, wndrea Le Breton and Kaplan state in modern occidental societies the face is the place and time of a symbolic order, exposes to judgment and anxrea interpretation of the other:. In this phase, two parts of the Reading of the photography were considered: On their behalf, the following group of portraits focus on the corporal ornaments that differentiate the faces: La lectura de la imagen: An expression of the time was the police and forensic photography of Bertillon 8 who established a massive program of photographic documentation and anthropometric measurement of which numerous exhaustive categorization albums turned out.

In the first moment we examined the morphological level and the main part of the photographies without limiting to an immanent interpretation, but we analyze the socio educative idea which expresses through these levels, configuring a global study. Due to the volumen of the corpus, it is appropriated to clarify that in the analysis it is not made an allusion ancrea all of the sources.

The materiality of the photographs enabled us to analyze the aspects linked with the corporal hexis, as the symbolic dimension of the body, the social look is focused on the agents, delegitimating and discrediting those who do not have a legitimate andrwa shape in the symbolic trade market. Photographies provide information about what is captured sintxais about the photographers, since they capture following the world vision of its creator.

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Flatten in its substantial aspects- that is history and dialectics- or suppressed to reification mechanisms, the dialectical method seems to be out of the scope of the social sciences today. As a result, along with the informative attribute, the photographs can also produce ancrea effects, altering the perception of the audience of the narrated information.

This seems to be an indicator of its social value and its representation. Trabajo presentado en Juvenile Crime Coverage. Hoy, Image 5. The first one includes the plan marks the space depth and the scale the modification of the size of the elements which permit the manipulation of the space, that is determined by the size of the photographed object, the distance between the object and the camera and the object chosenwhile the second one includes the analysis of the distribution of the weights of the photographed elements, the visual path depending on the scene directions and the looking of the characters and the space of representation with the analysis of the field- out of the field understanding the field as the represented space and the inner- outer.

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We searched for continuities in the series of images selected, trying to observe forces in tension which result would be the change or continuity of a form of a system, maybe a world view.

To this effect, a resource is to present the victim and its relatives in the center of the scene and show them in pain. In relation to the records of the coordinate of situation 5the circumstances in which they were conceived is unknown imaagen it removes a valuable information about the reason why of these visual documents.

The objective was to address the effects of the images disseminated by the printed media chosen, taking the material thickness of the photographs as documents. The sintaxix obtained highlight the images which stress the dualist opposition between the victim and the perpetrator as this depicts each pole of the pair in a different manner.

This first picture stands out a gun as the starring element. Investigator and promoter of antropologic individualization methods. Continuities were searched in the series of images selected, with the purpose of finding forces in tension. imaven

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A third moment went deep in the meaning of photography through a global study of the nucleus of sense of each group formed. In the victim portraits prevail close shots focused on the faces with expressions of pain, and in some cases wounds can be observed. All of them were considered for the analysis process.