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Do outro lado do muro : o gesto político e a construção ética da imagem no cárcere feminino
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Esta dissertação analisa como a fotografia documental, ao representar mulheres privadas de liberdade, pode atuar tanto como ferramenta de denúncia e visibilização quanto como mecanismo de reprodução de estigmas. Partindo de uma abordagem crítica da imagem enquanto prática social e política, o estudo examina a formação histórica da fotografia prisional e sua relação com dispositivos de vigilância, classificação e poder, destacando o papel do retrato institucional e do arquivo na construção de tipos sociais e hierarquias morais. Em diálogo com a cultura visual contemporânea, a pesquisa discute a circulação da imagem do cárcere feminino na mídia, no fotojornalismo e em projetos documentais, problematizando os limites entre empatia, espetáculo e banalização do sofrimento. A metodologia adotada é qualitativa, baseada na análise crítica do discurso visual, tendo como estudos de caso os projetos Días Eternos (2017-2021), de Ana María Arévalo Gosen, Women Prisoner Polaroids (1977-1985), de Jack Lueders-Booth, e Too Much Time: Women in Prison (1990), de Jane Evelyn Atwood. A análise comparativa evidencia distintas estratégias éticas e narrativas, demonstrando que a potência crítica da fotografia documental reside menos na suposta objetividade da imagem e mais nas condições de produção, relação e circulação que permitem reinscrever mulheres encarceradas no campo do reconhecimento ético e social.
This dissertation analyzes how documentary photography, when representing women deprived of their freedom, can act both as a tool for denunciation and visibility and as a mechanism for reproducing stigmas. Based on a critical approach to image as a social and political practice, this study examines the historical formation of prison photography and its relationship with devices of surveillance, classification, and power, highlighting the role of institutional portraiture and archives in the construction of social types and moral hierarchies. In dialogue with contemporary visual culture, the research discusses the circulation of images of women's prisons in the media, photojournalism, and documentary projects, questioning the boundaries between empathy, spectacle, and the trivialization of suffering. The methodology adopted is qualitative, based on critical analysis of visual discourse, with case studies from the projects Días Eternos, by Ana María Arévalo Gosen, Women Prisoner Polaroids, by Jack Lueders-Booth, and Women in Prison, by Jane Evelyn Atwood. The comparative analysis highlights different ethical and narrative strategies, demonstrating that the critical power of documentary photography lies less in the supposed objectivity of the image and more in the conditions of production, relationship, and circulation that allow incarcerated women to be reinscribed in the field of ethical and social recognition.
This dissertation analyzes how documentary photography, when representing women deprived of their freedom, can act both as a tool for denunciation and visibility and as a mechanism for reproducing stigmas. Based on a critical approach to image as a social and political practice, this study examines the historical formation of prison photography and its relationship with devices of surveillance, classification, and power, highlighting the role of institutional portraiture and archives in the construction of social types and moral hierarchies. In dialogue with contemporary visual culture, the research discusses the circulation of images of women's prisons in the media, photojournalism, and documentary projects, questioning the boundaries between empathy, spectacle, and the trivialization of suffering. The methodology adopted is qualitative, based on critical analysis of visual discourse, with case studies from the projects Días Eternos, by Ana María Arévalo Gosen, Women Prisoner Polaroids, by Jack Lueders-Booth, and Women in Prison, by Jane Evelyn Atwood. The comparative analysis highlights different ethical and narrative strategies, demonstrating that the critical power of documentary photography lies less in the supposed objectivity of the image and more in the conditions of production, relationship, and circulation that allow incarcerated women to be reinscribed in the field of ethical and social recognition.
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Fotografia documental Fotografia prisional Mulheres encarceradas Ética da representação Estereótipo Arquivo e poder Documentary photography Prison photography Incarcerated women Ethics of representation Stereotype Archive and power
Contexto Educativo
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Licença CC
Sem licença CC