El historiador y la fotografía: una relación antropológica

• Main Author: Emilio Lara López
• Format: Article
• Language: English
• Published: Fotocinema 2015-01-01
• Series: Fotocinema: Revista Científica de Cine y Fotografía
• Online Access: https://revistas.uma.es/index.php/fotocinema/article/view/5980

<!-- /* Font Definitions */ @font-face {font-family:Arial; panose-1:2 11 6 4 2 2 2 2 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:10887 -2147483648 8 0 511 0;} @font-face {font-family:Times; panose-1:2 0 5 0 0 0 0 0 0 0; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:-536870145 1107305727 0 0 415 0;} @font-face {font-family:Georgia; panose-1:2 4 5 2 5 4 5 2 3 3; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Times; mso-fareast-font-family:Times; mso-bidi-font-family:"Times New Roman"; mso-ansi-language:ES-TRAD; mso-no-proof:yes;} p.MsoHeader, li.MsoHeader, div.MsoHeader {mso-style-unhide:no; mso-style-link:"Encabezado Car"; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; tab-stops:center 212.6pt right 425.2pt; font-size:12.0pt; font-family:Times; mso-fareast-font-family:Times; mso-bidi-font-family:"Times New Roman"; mso-ansi-language:ES-TRAD; mso-no-proof:yes;} span.EncabezadoCar {mso-style-name:"Encabezado Car"; mso-style-unhide:no; mso-style-locked:yes; mso-style-link:Encabezado; mso-no-proof:yes;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:Times; mso-ascii-font-family:Times; mso-fareast-font-family:Times; mso-hansi-font-family:Times; mso-ansi-language:ES-TRAD;} @page WordSection1 {size:595.3pt 841.9pt; margin:70.9pt 3.0cm 70.9pt 3.0cm; mso-header-margin:14.2pt; mso-footer-margin:42.55pt; mso-columns:2 not-even 194.9pt 35.4pt 194.9pt; mso-paper-source:0;} div.WordSection1 {page:WordSection1;} @page WordSection2 {size:612.0pt 792.0pt; margin:70.85pt 3.0cm 70.85pt 3.0cm; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.WordSection2 {page:WordSection2;} --> Resumen: Una vez superada la necesaria fase de la fotohistoria, de la historia de la fotografía, era fundamental pasar a escribir historia con fotografías, a través de la fotografía como fuente documental. Este paso aún no se ha dado satisfactoriamente en el ámbito académico. Los historiadores ya conocen las posibilidades documentales de las imágenes. Las fotografías reciben un adecuado tratamiento documental y archivístico, pero los investigadores se siguen resistiendo a incorporarlas como fuente principal en sus trabajos. El historiador que quiera utilizar fotografías de los siglos XIX y XX requiere una sólida formación, pues debe manejar con soltura diferentes corrientes historiográficas y poseer conocimientos de antropología visual. En este artículo ofrecemos la posibilidad de avanzar hacia la construcción de un modelo histórico de narración visual aplicado al uso de la fotografía como documento histórico. Abstract: Once we have overcome the required phase of the photohistory, that is, the history of photography, it was essential to write history with photographs, through photography as a documentary source. This step has not succeeded in the academic field yet. The historians are still aware of the wide documentary chances of images. The photographs own a suitable documentary and long-term storage treatment, but the researchers still reject to include them as a main source of their work. The historians who want to use photographs from XIX and XX century need solid academic training, as they must manage different historiographic schools of thought skillfully, and they must be aware of visual anthropology. In this article, we offer the historians the possibility to move forward to the construction of an historical model of visual narrative applied to the use of the photography as a historical document. Palabras clave: Historia visual; fotografía; historiografía; antropología; narrativa histórica.   Keywords: Visual History; Photography; Historiography; Antropology, Historic Narrative.