1,721,042 research outputs found
Prouesses du regard : le geste du regard entre photographie, pratique physique et performance
No full textÀ partir de la séquence du match de tennis mimé qui clôt le film Blow-Up de Michelangelo Antonioni (1966), l’article aborde la question du geste du regard, au croisement des pratiques sportives, du mime corporel et de la photographie. La réorganisation globale de l’expérience du regard induite par le dispositif photographique au début de la modernité instille également une tension et une séparation entre regard corporel et regard mécanique, une fracture parfois douloureuse que s’approprie le théâtre. Les quelques exemples analysés, notamment la série Le sport d’Étienne Decroux, la chorégraphie Press de Pierre Rigal et la performance Metáfora de Manuel Vason, montrent différentes solutions possibles à cette fracture, mais témoignent également d’une aspiration commune vers une forme possible de regard renforcé, puissant, qui pourrait naître de la synthèse de ces deux regards.Based on the mimed tennis match in the final sequence of Michelangelo Antonioni’s film Blow-Up (1966), this article tackles the question of gaze gestures at the intersection of sports, corporeal mime and photography. The global reorganization of gazing experience induced by the photographic device at the start of the modern era also instills a tension and a separation between the corporeal and mechanical gaze, a sometimes painful divide that was appropriated by theatre. The examples analyzed, including Étienne Decroux’s series Le sport, Pierre Rigal’s choreography Press, and Manuel Vason’s performance Metáfora, offer various possible solutions to this divide, but also reflect a shared aspiration towards a possible form of reinforced, powerful gaze that could arise from the synthesis of these two types of gaze
Colin Dixon, Light and Time
No full textFirenze, SESV Spazio Espositivo Santa di Verdiana, 11 - 23 settembre 2004.
Colin Dixon, autore delle sessanta foto in bianco e nero oggetto dell'esposizione, racconta attraverso i suoi scatti non solo il delicato e troppe volte compromesso equilibrio fra l'uomo e l'ambiente, ma anche l'intuito passionale e creativo, oltre che tecnico, che lo muove all'urgenza di imprimere l'istante
Elio Modigliani: viaggiatore e naturalista sulla rotta delle meraviglie: Nias, Sumatra, Engano, Mentawei, 1886-1894: lo sguardo, il racconto, la collezione
No full textCatalog of an exhibition held in Florence at the Palazzo Ammannati Pazzi from Sept. 12-Oct. 6, 2002 At head of title: Museo nazionale di antropologia e etnologia, Sezione del Museo di storia naturale, Università degli studi di Firenz
L’atlante e lo scrapbook. Rapporti scientifici, relazioni coloniali e identità di genere in due album fotografici della fine del XIX secolo
Full text linkFocusing on the photographic album as a cultural object, this article discusses two albums belonging to different typologies: a collection of ethnographic and colonial photographs and a ‘sentiment album’. Both were compiled by Margaret Brooke – the wife of the second White Rajah of Sarawak (Borneo) – and offered to the Florentine botanist Odoardo Beccari in 1897. The combined analysis of these albums reveals their stratified, discursive, and negotiated nature, which intersects scientific intentions, colonial relations, and gender strategies
David Lees: l'Italia nelle fotografie di Life
No full textCatalogo della mostra Firenze, Uffizi, Sala delle Reali Poste, 19 ottobre-30 novembre 2003 / a cura di Cosimo Chiarell
Mantegazza e la fotografia. Un’antologia di immagini
No full textMantegazza's relationship with photography was certainly very intense and profitable although it was not without contradictions. Presenting a selection of photographs which Mantegazza made and collected during his studies (today found in the historical photography archive of the Museo Nazionale di Antropologia e Etnologia (National Museum of Anthropology) in Florence, the essay emphasizes the different ways that the photography was used to study physiology (the studies of the expression of pain), anthropology (Lapland and India) and ethnology (Italy). It also highlights Mantegazza's level of critical and methodological knowledge that he acquired in the operative procedure, representing his most important contribution to the modern discipline of visual anthropology, which has taken a more important position than that relating to the history of 19th century
Italian photography
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