La mirada hipermétrope:el fotoperiodismo en la era de las redes sociales

  1. Marcos Molano, Mar 1
  2. Tagarro, Ana 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Journal:
Fotocinema: revista científica de cine y fotografía

ISSN: 2172-0150

Year of publication: 2019

Issue: 19

Pages: 175-188

Type: Article

DOI: 10.24310/FOTOCINEMA.2019.V2I19.6651 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Fotocinema: revista científica de cine y fotografía

Abstract

The diffusion of photographs linked to current events through social networks, even before being published in the media, has altered the traditional role of photographers and graphic editors. These photographs, seen by millions of people all over the world and disseminated via Twitter, Facebook or Instagram, avoid the graphic editing phase that was once fundamental in any process of journalistic communication, as it is in this phase that images are given concrete and conscious meaning. This means that the photographs are published without any planning strategy or revision of the production, which leads to an uncontrolled use of the journalistic image. But not only has the selection criteria been eliminated with the disappearance of the graphic editor, but also the authorship, with photographers gobbled up by the subjects themselves portrayed, in images where there is no signature or copyright, and where the author's gaze seems to have been displaced from the viewfinder of his camera.

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Data source: Dialnet