![]() ![]() ![]() ![]() ![]() It incorporates a multidisciplinary theoretical framework, embracing feminist and psychoanalytical discourse and semiotics. This thesis examines the female gaze in conjunction with fashion photography. This paradigm shows a couple of elements which should be pointed out: 1. This nostalgic evocation thus became a paradigm of fashion photography in the seventies. Together with Helmut Newton and Guy Bourdin, she represented a part of the new wave in the photography of the seventies: feeling the anxiety-ridden atmosphere of turnover, characteristic of the time when we were abandoning the visions of Woodstock and John Lennon and peace-making emancipatory humanistic thinking at the global social level, as well as consolidation of power elites, which turned the ideas of the sixties into parlour exhibits of the established social milieu, they reacted in a specific manner (epatez les bourgeois – make the bourgeois marvel), using elements of mystery in their pictures, creating photographs which stressed their surrealistic, decadent aspect, evoking the spirit of the 20-ies and the 30-ies. Deborah Turbeville, the American photographer whose works appear in illustrated magazines like Vogue, Harper's Bazaar, Mademoiselle, Esquire and Art Forum, certainly belongs to the group of authors who are considered unavoidable in any serious study of modern photography. ![]()
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