{"id":199972,"date":"2020-05-11T00:24:39","date_gmt":"2020-05-10T23:24:39","guid":{"rendered":"https:\/\/tucuentavip.com\/?p=199972"},"modified":"2020-05-16T14:38:45","modified_gmt":"2020-05-16T13:38:45","slug":"racismo-en-la-fotografia","status":"publish","type":"post","link":"https:\/\/theprisma.co.uk\/es\/2020\/05\/11\/racismo-en-la-fotografia\/","title":{"rendered":"Racismo en la fotograf\u00eda"},"content":{"rendered":"

Las representaciones visuales sobre la raza est\u00e1n te\u00f1idas de actitudes racistas y \u201cDecolonising the camera\u201d analiza esto a trav\u00e9s de una serie de casos de estudio.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\"\"
Foto suministrada por Anti-Slavery<\/a><\/figcaption><\/figure>\n

Sean Sheehan<\/strong><\/strong><\/span><\/span><\/p>\n

 <\/p>\n

En 1945, la revista Life<\/em> \u2014una publicaci\u00f3n de gran formato (36cm x 26cm) y de enorme influencia\u2014 produjo seis p\u00e1ginas de fotograf\u00edas mostrando los horrores que enfrentaron las fuerzas aliadas cuando entraron por primera vez en los campos de concentraci\u00f3n alemanes.
\nFueron una revelaci\u00f3n para los americanos, pero solo porque los medios aliados hab\u00edan decidido no hacer p\u00fablico lo que se sab\u00eda desde hac\u00eda tiempo sobre las atrocidades nazis.<\/p>\n

La revista hab\u00eda ocluido el antisemitismo generalizado que anteriormente hab\u00eda llevado a pa\u00edses de Europa y Latinoam\u00e9rica a negarse a autorizar cualquier inmigraci\u00f3n de jud\u00edos a gran escala.<\/p>\n

Las sugerencias de algunos diplom\u00e1ticos de que las v\u00edctimas del nazismo se establecieran en partes de \u00c1frica fueron alimentadas por las teor\u00edas de la eugenesia que defend\u00edan a los arios como una raza superior.<\/p>\n

\"\"<\/a>Lo que el autor Mark Sealy llama h\u00e1bilmente como la \u201cgesti\u00f3n de la raza\u201d de la revista no llam\u00f3 la atenci\u00f3n sobre la etnia de las v\u00edctimas fotografiadas y el racismo que hab\u00eda justificado los campos de concentraci\u00f3n.<\/p>\n

No es de sorprender en un momento en que Estado Unidos segreg\u00f3 sus propias fuerzas armadas y cuyo mando superior insisti\u00f3 en la exclusi\u00f3n de los soldados de las colonias francesa y africana \u00a0del desfile en Paris que celebraba la liberaci\u00f3n de Francia.<\/p>\n

De las 1400<\/p>\n

0 fotograf\u00edas en la revista Life<\/em> en los primeros 18 meses de la guerra, solo diez mostraron hombres de color en uniforme y ninguna donde ellos llevaran armas.<\/p>\n

En el cap\u00edtulo \u201cViolence of the Image\u201d, las fotograf\u00edas de los archivos son examinadas para ver c\u00f3mo los colonizadores representaban a los colonizados.<\/p>\n

En el libro se produce un paradigma de la \u201cviolencia cultural\u201d en el trabajo: una foto enviada a Inglaterra como tarjeta de Navidad colonial de una plantaci\u00f3n en Nigeria en 1923. Tres filas de trabajadores africanos posan con sus pechos al descubierto pintados con una letra para deletrear un mensaje de Feliz Navidad.<\/p>\n

En un banco, frente a ellos, se sientan cuatros europeos vestidos de blanco con algunos ni\u00f1os peque\u00f1os de raza negra. A medida que Sealy observa, el hombre que lleva la letra X es mucho m\u00e1s alto que los otros y el espectador es atra\u00eddo por su signo.<\/p>\n

\"\"
Bergen-Belsen H\u00e4ftlinge, 1945. This photo by H. L. Clyn Hughes \u00abcreated by the United Kingdom Government is in the public domain (…) because It is a photograph taken prior to 1 June 1957″.<\/a><\/figcaption><\/figure>\n

Esto sirve como una l\u00ednea divisoria en la imagen, que significa que hay algo fuera de lugar, y que, en retrospectiva, se ajusta a Malcolm X y raz\u00f3n para cambiar de apellido.<\/p>\n

Tambi\u00e9n se public\u00f3 en el libro una de las fotograf\u00edas tomadas por el misionero Seeley Harris en la compa\u00f1a contra el gobierno obsceno del rey Leopoldo II en el Congo.<\/p>\n

Esta muestra a un hombre, Nsala, sentado frente a los restos de su hija que ha sido devorada por una tribu can\u00edbal al servicio del rey Leopoldo. Sealy tambi\u00e9n se\u00f1ala que el momento humanitario de la foto ignora el papel de los misioneros en la promoci\u00f3n de la supremac\u00eda blanca.<\/p>\n

Las cr\u00edticas forenses del libro hacen que la lectura sea vital para comprender el racismo cultural y el papel de la fotograf\u00eda en esto. Los estudios de casos son hist\u00f3ricos, pero la moral se\u00f1ala la urgencia de ver c\u00f3mo otros son vistos y presentados hoy d\u00eda.<\/p>\n

\u201cDecolonising the camera\u201d <\/em>de Mark Sealy es publicado por\u00a0 Lawrence & Wishart<\/a><\/p>\n

(Traducci\u00f3n de Lidia Pintos Medina) \u2013<\/strong><\/strong> Fotos suministradas por la editorial<\/em><\/span><\/span><\/p>\n

\n\t\t\t\t\tTweet<\/a>\n\t\t\t\t<\/div><\/div>","protected":false},"excerpt":{"rendered":"

Las representaciones visuales sobre la raza est\u00e1n te\u00f1idas de actitudes racistas y \u201cDecolonising the camera\u201d analiza esto a trav\u00e9s de una serie de casos de estudio. \u00a0 Sean Sheehan   En 1945, la revista Life \u2014una publicaci\u00f3n de gran formato (36cm x 26cm) y de enorme influencia\u2014 produjo seis p\u00e1ginas […]<\/p>\n","protected":false},"author":9,"featured_media":193457,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24,14,7,26],"tags":[],"class_list":["post-199972","post","type-post","status-publish","format-standard","has-post-thumbnail","category-cultura","category-en-foco","category-opinion","category-paginas"],"yoast_head":"\nRacismo en la fotograf\u00eda - ThePrisma.co.uk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theprisma.co.uk\/es\/2020\/05\/11\/racismo-en-la-fotografia\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Racismo en la fotograf\u00eda - 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