Subjetividade no fotodocumentalismo artístico de Sebastião Salgado

Abstract

The fusion of concepts from the visual arts and literature to those of communication can classify photography, more specifically photodocumentalism, as hybrid art to journalism. This style of art presents narratives of historical events, in a subjective way, full of feelings and emotions, next to the objectivity experienced by the subject and the author photographer, and promotes others differents emotions in the viewer. This representation of the event through images may characterize the photographer as a Benjaminian narrator Erfahrener, who goes on a trip to explore or know something, to register the unknown, to narrate and present his interpretation before reality, considering the studies of the themes, styles and forms of expression that are usually associated with art without neglecting the singular event. These forms of expression, in the case under study in photography, can be compared to painting, being they the rules of composition, the use or not of color and the choice of the different framing plans. Like this, the photodocumentalist explores the object as a sign, using photographic language as the basis of a recognizable grammatical code that proposes a world reading. As an example of photodocumentalist, Sebastião Salgado, here classified as such, exposes in section of his book Africa, the genocide occurred in Rwanda in 1994, where about 800 thousand Tutsis were killed by Hutu power. Using Hegel's nomenclature for the dialectical trilogy of universality, particularity, and singularity, studied by Genro Filho (1987) in the studies between art and journalism, the records the death (singular, journalistic), but also exhibits culture and customs (particular, artistic) of the massacred people in a single image.