Imagens em diálogo: cultura visual no Brasil e México em perspectiva comparada
The purpose of this article is to determine the movement of images and visual culture appearance of a political between Mexico and Brazil the 1920s and 1930s. Search examine in particular were as common visual repertoires between the two countries both in the production of images uploaded with a rhetoric of political engagement as some pictures that a first glance could pass for Uncompromising but which contributed to the construction of political imagery. Although my intention is not an exhaustive analysis imagetics find out different media such as photos printed in newspapers and in Magazines, posters, engravings and other artistic expressions that subsidize the movement of aesthetic and political ideas. Part of the hypothesis that although the difficulties of exchanges (language, distance and lack of greater contact between its artists and intellectuals) was an exchange of proposals especially between political and cultural networks of sociability of artists markedly under the left politics.
Fontes visuais, cultura visual, história visual: balanço provisório, propostas cautelares
The aim of this article is to displace the historian's focus on visual sources (iconography, iconology) into a more rewarding treatment of visuality as an important dimension of social life and historical processes. After a survey of contributions brought in by Art History, Visual Anthropology, Visual Sociology and Visual Culture Studies, concerning visual records and visual regimes, the author introduces a few prerequisites for a Visual History - intended not as a new academic feud, but as a set of strategic operational means of enhancing historical research in all its domains.
Contrasting images, complementary trajectories: sociology, visual sociology and visual research
Recent books by Jon Prosser (Image-based Research 1998) and by Michael Emmison and Philip Smith (Researching the Visual 2000) recommend increased research attention to the visual dimensions of culture and social life, but their contrasting perspectives raise questions about how research of this sort can be pursued most productively: as a strand or dimension of sociological inquiry or through cross-disciplinary work in qualitative research or cultural studies? By attending to photographic and video tape recordings or by deliberately avoiding them in favor or other forms of evidence? As one answer to these questions, this essay outlines an approach to visual studies in which researchers neither resist nor romanticize the “image” and to which both disciplinary and interdisciplinary concerns have something to contribute.