كليدواژه :
عكاسي مستند اجتماعي , پرشيا(ايران) , آلبرت هوتس , الكساندر اياس , جورج استيونس , لارنس لاكهارت , فريا استارك , اينگه مورات
چكيده فارسي :
در اين مقاله، گرايش«عكاسان مستند اجتماعي» با مليت هاي مختلف اروپايي(روسيه، انگلستان، هلند، آلمان و ...) در بازه زماني نيمة قرن 19 تا نيمة قرن20 با رويكردي بسترگرايانه به منظور تحليل نگرش عكاسان مزبور كه در پرشيا(ايران كنوني)عكاسي كرده اند، دستمايه تحقيق و بررسي قرار گرفته است. هدف اصلي اين پژوهش، به دست آوردن«نگرش» هركدام از عكاسان مزبور در محدودة زماني مورد نظر و همچنين تعيين تفاوت ها و تشابهات آنان در نگرش هاي بازيابي شده بوده است. در مورد هر عكاسي ابتدا زندگي نامه كاري او آورده و سپس به تحليل نگرش وي پرداخته شده است. يافته هاي پژوهش نشان مي دهد كه نگرش عكاسان منتخب كه ماحصل كار آنان است در توليد و مصرف هم خواني ندارند. عكاسان مورد بررسي بر سوژه هاي انساني خويش در سرزمين ايران اعمال قدرت و سلطه گري داشته اند. داعيه اصلاح طلبي كه وجه بارز و مشخص عكس هاي مستند اجتماعي قلمداد مي شود فقط در رويه و سطح ظاهري آثار نمود دارد و به فرجام عملي نرسيده است و عمدتاً جلوه هاي جستجوگري وجهان گردي در كارهايشان بارز و شاخص مي باشد. كاركردِ اسنادي و بايگاني كه سرنوشت محتوم عكس هاي آرشيو شده در بايگاني هاست، از خلال آثار آنها قابل دريافت است. سوية چرخش از عكاسي«مستند اجتماعي» به سمت عكاسي«مستند شهري» وجه تمايز مشخص ديگري است كه اين تحقيق آن را هويدا و آشكار مي كند.
چكيده لاتين :
The tendency and perspective of “social documentary
photographers” with different European nationality(Russia,
England, Netherlands, Germany / Austria and …) in a period
from half of the 19 century to half of 20 century with
a subjectivity approach in order to study and analyzing the
mentioned photographer’s attitude that traveled to Persia
(current Iran) and subsequently have photographed from
it, has been investigated and studied in this paper. What is
that can be defined and included following the title of “social
documentary photography” is not anything except the
created work by photographers that with relative commitment
to Human phenomena that is around you, either as a
fascination for humanity or as a protest against the current
situation and reformist look.The “Social documentary photography”
mainly corresponds to the personal concerns of
the photographer and, of course, the being of outside subject.
The main purpose of this research was to attain the
“attitude” of each of the mentioned photographers in the
desired time period and also specifying the differences and
similarities of these photographers in retrieved attitudes.
Some of the photographers in nineteenth century saw their
work as a “document”, but many other did not anything
about themselves and they did not know that the photographer
is a documentary. Other genres close to social documentary
photography include ethnographic photography
which is essentially the same as recording people in shaky
or risky situations, but they are oblivious to the recording
of traditions, clothing and living or biological conditions.
Documentary photography dominated in many ways to the
history of twentieth century photography and many great
photographers in mentioned century have been linked to
this genre. Talking more about the documentary photography,
whether in absolute or relative terms, means going
to a marsh with contradictions, turmoil and uncertainties.
In this paper we were raised the photographers that in
addition to their performance in the social documentary
genre were important in another aspect that is the name
and works of some of them arises for the first time in a
scientific – research paper in Iran.
In selecting and electing the photographers that are the
case study of this paper, regardless of two mentioned
property (that all of them should be active in social documentary
genre and theirs works did not seen or be less
prominent in Iran) the personal interest of the author of
this article has also been among. The necessity of having
a time frame and specific social condition and almost
identical about the intended photographers of this article
that were traveled to Persia / Iran in a desired time period
and have photographed, is another key and important element
that should be taking into account it. In the case
of contextualize this explanation is required that in this
paper according to the nature of “social documentary photography”
and expectation from it, we have considered a
“subjectivity” approach against “aesthetics” approach. The
desired photographers have been selected from different
European geography (Russia, England, Netherlands, Germany
/Austria). Meanwhile because England is the main
and major source of the social documentary approach,
paid more attention to the more photographers of this geography.
For any photographer, at first his/her biography
has been published and then his/her attitude has been
analyzed. The findings of this research shows that the approach
of the selected photographers that is the result of
theirs works, has not consistency in production and consumption.
The studied photographers have power and
dominance on their human subjects
