Publication: La (re)presentación de la violencia a través de la fotografía. Mostrar, ocultar, retener, reconducir y utilizar la imagen de la mujer durante la Guerra Civil Española en Madrid (1936-1939)
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2014
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Ecole des hautes études en sciences sociales
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Abstract
Las imágenes son poderosas herramientas de comunicación que deben ser bien empleadas con el fin de no resultar contraproducentes para aquellos que las utilizan y máxime cuando lo hacen los estados en momentos delicados de su historia. La propaganda visual ha tenido en las guerras, desde finales del siglo XIX, un campo de experimentación muy interesante en el que el juego mostrar-ocultar se convierte en un recurso más del conflicto.Para desarrollar algunas ideas sobre el uso y abuso de las imágenes violentas que se consumen en una guerra vamos a emplear como marco una selección de fotografías que se tomaron en la ciudad de Madrid durante la Guerra Civil Española (1936-1939). Fue uno de los conflictos que convirtió el control visual en un arma más de una guerra que no sólo debía ganarse en el frente sino también en la retaguardia, gracias al uso de la propaganda política. Para acotar nuestro campo de estudio, analizaremos la (re)presentación que se hizo del prototipo de mujer de costumbres, cuando fue mostrado como sujeto activo o como víctima de los enemigos. Antes reflexionaremos, a modo de apunte, sobre la capacidad de la fotografía como documento recuperador de memoria o, más bien, como la memoria misma de los acontecimientos, y las posibilidades de uso que se despertaron con la sublevación de julio de 1936.
Images are powerful tools of communication that must be properly used so that they do not become self-defeating to those who resort them, especially by Countries during difficult periods of their History. During the wars of the late Nineteenth Century, visual propaganda obtained a quite interesting field of experimentation since the “now I show, now I don’t” game became one more resource in the conflict. In order to develop some ideas about the use and abuse of violent images emitted during a war, we will focus on a selection of photographs taken in the City of Madrid during the Spanish Civil War (1936-1939). That war turned visual control into a weapon not only to win in the front line but also in the rear using it as political propaganda. To narrow down our study, the (re)presentation of the prototype of the traditional woman shown as an active subject or as a victim of the enemies will be analyzed. Before that, and to make our point, we will reflect on the capacity of the photograph as a recovery document of the memory or, rather, as the memory itself of the events and the possibilities that arose during the uprising of July 1936.
Images are powerful tools of communication that must be properly used so that they do not become self-defeating to those who resort them, especially by Countries during difficult periods of their History. During the wars of the late Nineteenth Century, visual propaganda obtained a quite interesting field of experimentation since the “now I show, now I don’t” game became one more resource in the conflict. In order to develop some ideas about the use and abuse of violent images emitted during a war, we will focus on a selection of photographs taken in the City of Madrid during the Spanish Civil War (1936-1939). That war turned visual control into a weapon not only to win in the front line but also in the rear using it as political propaganda. To narrow down our study, the (re)presentation of the prototype of the traditional woman shown as an active subject or as a victim of the enemies will be analyzed. Before that, and to make our point, we will reflect on the capacity of the photograph as a recovery document of the memory or, rather, as the memory itself of the events and the possibilities that arose during the uprising of July 1936.
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España, Fotografía, Memoria, Representación, Mujer, Víctima, Violencia, Guerra Civil, Spain, Photography, Memory, Representation, Woman, Victim, Violence, Civil War
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Nuevo Mundo Mundos Nuevos. Images, mémoires et sons. 2014