La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador

The aim of this article is to try to assess the potential of photography as a means of resistance for women and feminists. This concept is important because it implies, first and foremost, a subject who is capable of being an agent and whose intentionality can be used to meet many women’s needs, whe...

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Autor principal:	Natalia de la Ossa
Formato:	article
Lenguaje:	CA EN ES EU FR GL IT PT
Publicado:	Universitat de Barcelona 2001
Materias:	Women. Feminism HQ1101-2030.7
Acceso en línea:	https://doaj.org/article/391b5f244fcd4344b21abadbf2c8bdf0
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spelling	oai:doaj.org-article:391b5f244fcd4344b21abadbf2c8bdf02021-12-02T19:36:55ZLa fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador1136-57812013-9470https://doaj.org/article/391b5f244fcd4344b21abadbf2c8bdf02001-01-01T00:00:00Zhttp://revistes.ub.edu/index.php/lectora/article/view/7029https://doaj.org/toc/1136-5781https://doaj.org/toc/2013-9470The aim of this article is to try to assess the potential of photography as a means of resistance for women and feminists. This concept is important because it implies, first and foremost, a subject who is capable of being an agent and whose intentionality can be used to meet many women’s needs, whether as a personal expression, therapy, or in educational campaigns or against violence, to name but a few. Part of this discussion is based on well-known feminist theories on representation and self-representation (e. g. Kuhn, 1985; Pollock, 1990; Mulvey, 1991; Solomon-Godean, 1991; Neumaier, 1995) integrated into some feminist interpretations of Foucault’s models of power/resistance (Bryson, 1988; Sawicki, 1991, McNay, 1992; Bell, 1993). The discussion or relationship between subjectivity, agency and photography is built upon this base, to suggest how and when forms of resistance have occurred or may occur. In order to back up the argument, some uses of self-representation are mentioned throughout the essay as well as the role played by the body in these instances and searches for resistance (as in the work by the body in these instances and searches for resistance (as in the work by Saville and Luchford, 1995/96) and other forms in which women used photography (such as Spence, 1986, 1995; Spence and Solomon, 1995; Greeen, 1995 and Simpson, 1995). Some of the difficulties, risks, implications and responsibilities inherent in the processes of representation are also dealt with and reference is made to the dilemmas involved in the processes of interpretation. The images of Saville and Luchford are discussed in more detail and the issues covered throughout this article are reflected and united in them.Natalia de la OssaUniversitat de BarcelonaarticleWomen. FeminismHQ1101-2030.7CAENESEUFRGLITPTLectora: Revista de Dones i Textualitat, Iss 7 (2001)
institution	DOAJ
collection	DOAJ
language	CA EN ES EU FR GL IT PT
topic	Women. Feminism HQ1101-2030.7
spellingShingle	Women. Feminism HQ1101-2030.7 Natalia de la Ossa La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador
description	The aim of this article is to try to assess the potential of photography as a means of resistance for women and feminists. This concept is important because it implies, first and foremost, a subject who is capable of being an agent and whose intentionality can be used to meet many women’s needs, whether as a personal expression, therapy, or in educational campaigns or against violence, to name but a few. Part of this discussion is based on well-known feminist theories on representation and self-representation (e. g. Kuhn, 1985; Pollock, 1990; Mulvey, 1991; Solomon-Godean, 1991; Neumaier, 1995) integrated into some feminist interpretations of Foucault’s models of power/resistance (Bryson, 1988; Sawicki, 1991, McNay, 1992; Bell, 1993). The discussion or relationship between subjectivity, agency and photography is built upon this base, to suggest how and when forms of resistance have occurred or may occur. In order to back up the argument, some uses of self-representation are mentioned throughout the essay as well as the role played by the body in these instances and searches for resistance (as in the work by the body in these instances and searches for resistance (as in the work by Saville and Luchford, 1995/96) and other forms in which women used photography (such as Spence, 1986, 1995; Spence and Solomon, 1995; Greeen, 1995 and Simpson, 1995). Some of the difficulties, risks, implications and responsibilities inherent in the processes of representation are also dealt with and reference is made to the dilemmas involved in the processes of interpretation. The images of Saville and Luchford are discussed in more detail and the issues covered throughout this article are reflected and united in them.
format	article
author	Natalia de la Ossa
author_facet	Natalia de la Ossa
author_sort	Natalia de la Ossa
title	La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador
title_short	La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador
title_full	La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador
title_fullStr	La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador
title_full_unstemmed	La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador
title_sort	la fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador
publisher	Universitat de Barcelona
publishDate	2001
url	https://doaj.org/article/391b5f244fcd4344b21abadbf2c8bdf0
work_keys_str_mv	AT nataliadelaossa lafotografiacomomecanismoderesistenciaysuimplicacionenlasrelacionesentreelsujetolaimagenyelespectador
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La fotografia como mecanismo de resistencia y su implicación en las relaciones entre el sujeto, la imagen y el espectador

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