Bonner Online-Bibliographie zur Comicforschung
Baetens, Jan: "John Berger and Jean Mohr. From photography to photo narrative." In: History of Photography 19.4 (1995), S. 283–285.
Added by: joachim (21 Aug 2017 11:07:21 UTC) Last edited by: joachim (21 Aug 2017 12:39:48 UTC)
|Resource type: Journal Article
BibTeX citation key: Baetens1995a
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Keywords: Photographie, Photoroman, Randformen des Comics
Collection: History of Photography
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Photo narrative is usually defined as a visual narrative that uses photographic images arranged in sequence and mounted on a page. Thus the difference between photography and photo narrative is clearly of a technical nature particularly as regards framing and out-of-frame: in photography, the edges of the image signify an absolute break, whereas in photographic narration that same break is only relative since each fragment of a photo story is always preceded, surrounded or followed by other fragments. More importantly, the difference is also an ideological, if not an ethical one, since photographic narration actively rejects the tenets of traditional photography, as symbolized by Henri Cartier-Bresson, in that it welcomes the use of artifice; it does not strive to capture the unique moment but deals specifically with the contrived image and relies on a sequential format. Finally, the photo story views its hostmedium, whose specific characteristics arc ignored by photographers, in a completely different way; Bresson's art lends itself to any form of presentation (book, magazine, exhibition, and so on), whereas the photo story is conceived and produced with a very particular host-medium in mind, i.e. the page.