As narrativas sobre o narrador na obra The Innocents de Taryn Simon

Abstract

The project The Innocents of Photography Taryn Simon (2003) presents forty-five photos that stage a story of people who have been convicted of crimes they did not commit and after having served their sentence or have been able to prove their innocence through the medium of the DNA test. The project includes an installation that circulates in several museums around the world, having a set of photos and a brief interview with each participant and a documentary about these stories. This research aims to analyze: the construction of the narrator within the project narratives; as this narrator in the language of the language chosen to materialize as narratives; and narratives about the space in which they are cast on the narratives of the innocent. The Innocent, the work presents a vision of four narratives present in The Innocents, seen under a conception of narrative presented by Corinne Squire (2014); The premises of the database construction by Bourdieu (1983); and the concept of theatricalisation of power by Canclini (2013). In order to observe the picture materialisation in the language are used the concepts of living-picture photografy by Cotton (2013); of the circularity of the image created by Flusser (2002: 2014) and an analysis of the development of the invisible narrator with the evolution of film editing presented by Machado (2011). The article is a discussion about how narratives are always present in spaces and spaces, while some narratives are silenced or reverenced from the symbolic capital that are staged. Finally, an analysis was made of how this person is in the language of language and in the aesthetic choices of Simon (2003), in order to stand out as a narrator: his symbolic capital as a photographer, the space of the museum and the public itself.