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cases of intermediality in Brazilian photobooks
ana paula vitorio
joão queiroz
TOPICS
• photobook: importance and definition
• intermediality
• objective
• triadic semiotic process
• photobook cases
• analysis excerpts
• conclusion
WHY PHOTOBOOKS?
H. Fernandez
• dissemination
• history of photography
• since 1920 in Latin America
• recent interest
• photobook as a whole
• photobook as a medium/technology
WHAT IS PHOTOBOOK?
• the sum is greater than the parts (G. Badger)
• internal relations between the images (H. Fernandez)
“I intend to publish books aesthetically pleasing, from an intelligent graphic design, in accordance with the content of images which are works in function of the ideas about
art, regardless of good or bad taste” (Paolo Gasparini, about Retromundo - 1986)
“there are not photobooks made only by photographers” (H. Fernandez)
“photobooks are created through judicious
selection and juxtaposition of images (and image and text), combined with thoughtful layout and
design” (E. Shannon)
more than one medium
intermediality
INTERMEDIALITY
• medial border-crossings (I. Rajewsky)
• transgression of boundaries between conventionally distinct media of communication (W. Wolf)
CATEGORIES OF INTERMEDIALITY
• combination: material association between two or more media (I. Rajewisky)
• plurimediality (intracomposicional): direct or indirect participation of more than one medium in the signification and/or semiotic structure of a work or semiotic complex (W. Wolf)
• mediation: relation between technical media and basic or qualified media (L. Elleström )
photobook associates material aspects of different media
objective
to describe how Brazilian artists explore the materiality of the book as support in mediating
photography
triadic semiotic processes
• icons: similarity or resemblance
• indexes: direct physical connection
• symbols: law, rule or convention
silent book
Miguel Rio Branco (2012)
sí por cuba
Tatiana Altberg (2005)
A B
ANALYSIS EXCERPTS
B has iconic relation with A
A B
B recreates iconic aspects of A
A B
color light
shapes
• twisted lines
• absence of
geometric unit
• tactile aspects
• look guided
• movement of forms
• dramatic intensity
photo in B has iconic relation with margin and with A
A B
A B
white background
• if in the photobooks there are internal relations between the images and the sum is greater than the parts
• if photobooks are paradigmatic cases of intermediality
• if intermedial relations can be described as semiotic process
we have a RULE:
• the material aspects of the book work as iconic signs of photography
• the material aspects of the book provide iconic relations between two or more semiotic components
triadic semiotic processes
material book
photograpy photobook
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