Selejan, IL;
(2017)
Pictures In Dispute: Documentary Photography in Sandinista Nicaragua.
Photographies
, 10
(3)
10.1080/17540763.2017.1342973.
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Abstract
The need for political participation felt in the aftermath of the Cuban revolution, and the widespread mobilization of photography to political ends during this period intersected with postmodern theory in a global arena. While US-based critiques of the documentary genre have been duly analyzed in the relevant literature, related conversations taking place in Latin America have only been marginally explored. This article posits that so-called postmodern discourses in fact created the basis for a horizontal, transnational and multi-centered, rather than vertical (North‒South) dynamic between these photographic communities. Through their commitment to politics, and to avant-garde aesthetics, documentary photographers performed gestures of cultural and visual appropriation, fitting their itinerant context. This article analyzes the work of Claudia Gordillo, taking as a case study Nicaragua during the 1980s.
| Type: | Article |
|---|---|
| Title: | Pictures In Dispute: Documentary Photography in Sandinista Nicaragua |
| Open access status: | An open access version is available from UCL Discovery |
| DOI: | 10.1080/17540763.2017.1342973 |
| Publisher version: | http://doi.org/10.1080/17540763.2017.1342973 |
| Language: | English |
| Additional information: | This version is the author accepted manuscript. For information on re-use, please refer to the publisher’s terms and conditions. |
| UCL classification: | UCL UCL > Provost and Vice Provost Offices > UCL SLASH UCL > Provost and Vice Provost Offices > UCL SLASH > Faculty of S&HS UCL > Provost and Vice Provost Offices > UCL SLASH > Faculty of S&HS > Dept of Anthropology |
| URI: | https://discovery.ucl.ac.uk/id/eprint/1570994 |
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