티나 모도티 스트레이트사진과 사회적 리얼리즘 사이에서의 피사체 (Tina Modotti, Between Straight Photography and Social Realism)

서지정보

· 발행기관 : 한국외국어대학교 중남미연구소
· 수록지 정보 : 중남미연구 / 29권 / 1호 / 127 ~ 148페이지
· 저자명 : 유화열, 이헌국

초록

This paper studies Photographer Tina Modotti (1896∼1942) born in Italy, who made much artistic achievement an artist throughout Mexican literature renaissance stage, in early the twentieth century. Going back the photography history in the twentieth century, it is more likely to be perceived that the evaluation of Modotti eliminated Straight photography, in the process of demonstrating social realism. But, it is at issue that Modotti didn't eliminate Straight photography but rather, he still used such photography, with the expansion of the social realism realm. To put in another way, form-styled questions were woven and tangled by thread of Straight Photography, while content-styled questions were of pattern of social realism in photography by Modotti. Against this backdrop, photography by Modotti reflects that photos in early the twentieth century are treated as if they were reference data. Among other things, the extraordinary competence that the artist possessed contributed to materializing realism different from realism by Western, and at the same time, meeting artists (Paul Strand) out of the group of Western. When evaluates Modotti Photographer, it can be never disregarded that his own art creation resulted from his invitation of the distinguished photographer in the twentieth century as his mentor. Most of all, the background of Mexican literature renaissance state where appreciated Modotti as a photographer and his will to work for a phonographer played a crucial role.

영어초록

This paper studies Photographer Tina Modotti (1896∼1942) born in Italy, who made much artistic achievement an artist throughout Mexican literature renaissance stage, in early the twentieth century. Going back the photography history in the twentieth century, it is more likely to be perceived that the evaluation of Modotti eliminated Straight photography, in the process of demonstrating social realism. But, it is at issue that Modotti didn't eliminate Straight photography but rather, he still used such photography, with the expansion of the social realism realm. To put in another way, form-styled questions were woven and tangled by thread of Straight Photography, while content-styled questions were of pattern of social realism in photography by Modotti. Against this backdrop, photography by Modotti reflects that photos in early the twentieth century are treated as if they were reference data. Among other things, the extraordinary competence that the artist possessed contributed to materializing realism different from realism by Western, and at the same time, meeting artists (Paul Strand) out of the group of Western. When evaluates Modotti Photographer, it can be never disregarded that his own art creation resulted from his invitation of the distinguished photographer in the twentieth century as his mentor. Most of all, the background of Mexican literature renaissance state where appreciated Modotti as a photographer and his will to work for a phonographer played a crucial role.

참고자료

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