Conexión

URI permanente para esta comunidadhttp://54.81.141.168/handle/123456789/175299

ISSN 2305-7467
e-ISSN 2413-5437

La revista Conexión es una iniciativa académica del Departamento de Comunicaciones de la PUCP, que tiene como objetivo fomentar la investigación y la redacción de ensayos vinculados al tema de las comunicaciones. Se publica una vez al año y colaboran en ella profesores de planta del Departamento, así como investigadores y docentes invitados de otras universidades del país y del extranjero. Los artículos publicados en la revista son originales y se someten a una revisión editorial antes de ser publicados.

Los campos de interés de las comunicaciones son amplios y variados, y esa diversidad de miradas es la que garantiza la interdisciplinariedad de nuestras búsquedas, vincula la heterogeneidad de nuestros objetos de estudio y conecta de manera transversal nuestros hallazgos. En la actividad de la vida académica, Conexión ofrece un lugar de encuentro para la comunicación social con los otros dominios del saber.

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Filtros

2019 - 201912020 - 20242

Ajustes

Temasearch.filters.applied.operator.equals: search.filters.subject.Fotografía

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Mostrando 1 - 3 de 3
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    Enfoque de las tres perspectivas: hacia una nueva configuración del archivo fotográfico
    (Pontificia Universidad Católica del Perú, 2024-07-19) Colunge Rosales, Ángel Enrique
    The article proposes a new methodology, the three-perspective approach, for the classification of photographs in archives. It is based on the intersection of visual economy and mass communication theory. This approach understands the archive as a relational phenomenon, where images participate in networks of meaning and power. The three perspectives are the sender and production, the image and circulation, and the audience and consumption, all framed within a specific space/time. The methodology is applied to the case study of the TAFOS project collection, active between 1986 and 1998. The approach allows for multiple classifications according to the version of the archive, and opens new ways to explore its communicative and expressive potential. The proposal seeks to strengthen the continuity of photographic archives as living agents decentered from library logic, promoting discursive diversity and resisting totalitarianism that restricts their action and enunciation.
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    Representación de la protesta social en las movilizaciones ciudadanas en el Perú durante el periodo pre- y poselectoral de 2021: análisis desde la visualidad de un trabajo fotográfico
    (Pontificia Universidad Católica del Perú, 2022-07-27) Velarde Castillo, Jackeline Sofía
    Aldair Mejía is a Peruvian photographer who became moderately well known in the outbreak of social protest in Peru during November 2020. His work has recorded the citizen mobilizations in the country before, during and after the last presidential elections of 2021, that gave Pedro Castillo as the winner. The subject of this article has to do with, from the visuality, exploring and describing the representation of the social claim in this photographic work, using three photographs as the object of analysis. The methodology of visual analysis has been specifically used and it is not intended to generalize the meaning and implication of the images in other contexts. The focus has been on defining what kind of visual discourse these images constitute in the context of the enunciation and repetition of messages, mostly contrary, by the media, economic powers and defenders of the status quo, in the context of the political tension between candidates and what their figures represented until the announcement of the official winner.
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    Distrito 9: una subversión al abandono neoliberal desde la performatividad de nuevas alteridades afectivas en el planeta
    (Pontificia Universidad Católica del Perú. Fondo Editorial, 2019-12-12) Patiño-Patroni Palacios, Alexis
    In this essay, I analyze the science fiction narrative of the film District 9 as a dismantling device for the biopolitical strategies of contemporary liberal democracy. While obscenely legitimizing the utilitarian, post-colonial, and violent characteristics of its forms of representation and subjectivation, the film shows how this global order also sediments epistemic dogmas and regimes of truth, camouflaged through its multicultural recognition policies. As a counterpart, I identify the empathetic relation of the protagonists, and their seek for other possible bonds between the various human and non-human manifestations, making their conditions of possibility visible in the fictions of encounter that the narrative poses to spectators performative imitation. Finally, although I focus on textual interpretation, the predominant approach in the field of film studies, I outline the film’s ability to impact everyday practices and its possibilities beyond spectatorship. In fact, as a conceptual project, District 9 deploys some strategies that transcend conventional film reception to challenge the field of sociopolitical action.