Power and satire in the front-page images of Mariano Rajoy: visual motifs as political humour

This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish newspapers (El Mundo, El País and La Vanguardia) between 2011 and 2017, the paper identifies and questions the liaisons between power and satire present in the so-called “serious” press, focusing on how different photographic traits concerning layout, composition and gestures reflect ideological choices. This photographic satire developed by printed media is then framed within a figurative tradition that goes back to Spanish royal portraiture, from Velázquez to Goya, which employs common strategies for the visual depiction of power, including satirical and humorous attributes to push specific political agendas. This examination, based on the quantified study and the visual analysis of more than 7,500 front pages, is part of the national research project Visual Motifs in the Public Sphere: Production and Circulation of Images of Power in Spain, 2011-2017. In order to determine a useful procedural approach to satirical expressions in photographs, defining which front pages invoke a remarkable satirical content, this article also presents a comparative study and a categorisation based on formal (im)balances related to the concepts of visual motif and humour.

Iconography of the corpse in the public sphere. Presence and absence of the dead body in times of pandemic

In this article, we examine the visual motif of the corpse and its presence in the public sphere in times of pandemic from an iconographic, political and anthropological perspective. Through the analysis of the representation of the dead body in images presented by modern media, we reflect on how the formal and iconographic schemes of presentation of death were transformed following the irruption of the Covid-19 pandemic in March 2020. The pandemic scheme, which is unusual from a political and anthropological perspective, assumes a particular approach to the problem of the representation of the dead body (anonymous body, carrier of a virus), encrypted in a dialectic between systematic omission and censorship and displacement of the representation of death towards the cumulative symmetry of empty pits or coffins that prefigure the corpse to come. Pandemic iconography, often based on science fiction imagery, outlines the dehumanized restlessness of a dystopian future. Under these exceptional conditions, some corpses, which are a priori anonymous, stand out, showing, even in the suspended space of Covid-19, the permanence of structural schemes of violence that must be denounced and fought in the present. With that in mind, we also examine the corpses claimed by Black Lives Matter and their distinctive representations, which are very different from those of the victims of the epidemic. Finally, through these references and based on the media treatment of Diego Armando Maradona’s body, we consider the significance of the return of the iconic corpse to the center of the public sphere, which imposes a regime of extreme visibility and goes beyond the representative limits of pandemic exceptionality.

Pandemic/Screen. The visual motif of police violence in public spaces during the COVID-19 pandemic

In the current context of the COVID-19 pandemic, various forms of digital surveillance have been globally, established. Despite many of these forms of surveillance already existed, now, they have increased their range and have been legitimized and imposed daily. The logic of surveillance has allowed the universalization of surveillance, denunciation between citizens, and protests through mobile phone screens and social networks. In this state of exception, crossed by the rise of vigilantism, we propose to analyze the visual motif of police brutality in public spaces during the confinement. We will base the analysis on three categories of subjective enunciation: a witness-gaze, where the observer remains silent, recording the image; a protest-gaze, in which the observer reproaches the police for their violent action; and a lynching-gaze, where, on the contrary, the observer encourages police brutality and denounces the subject who transgresses confinement and goes for a walk on public roads. These types of gaze will allow us to demonstrate a settlement in the popular imagination of trust in the use of digital technologies and media to empower citizens in political and social praxis, and citizen journalism.

PENGOLAHAN MOTIF YANG TERINSPIRASI DARI TENUN GRINGSING WAYANG KEBO DENGAN TEKNIK DIGITAL PRINTING PADA PRODUK WOMENSWEAR

Melihat adanya potensi visual dari visual motif Tenun Gringsing Wayang Kebo yang merupakan kain bertuah yang ditenun oleh masyarakat Desa Tenganan Pagringsingan dan dikenal sebagai kain tenun ikat ganda dengan motif yang penuh dengan makna filosofis serta melihat adanya potensi untuk membuat inovasi komposisi motif baru menggunakan ornamen motif Tenun Gringsing Wayang Kebo untuk menciptakan inovasi motif baru yang terinspirasi dari tenun Gringsing Wayang Kebo. Metode yang digunakan dalam penelitian ini adalah metode kualitatif yaitu studi pustaka yang berkaitan dengan filosofi dan analisa ornamen yang ada di dalam motif Wayang Kebo dan eksperimen penyusunan kembali ornamen motif dengan melakukan stilasi bentuk motif dan komposisi yang terinspirasi dari Tenun Gringsing Wayang Kebo. Hasil eksperimen tersebut kemudian diaplikasikan dengan teknik surface textile design yaitu digital printing dan beading embellishment diatas material polyester dan organza untuk kemudian dapat diterapkan kedalam produk fesyen. Hasil eksperimen stilasi bentuk dan komposisi motif dengan pola motif simetris dan teknik pengulangan setengah langkah, diterapkan dengan warna lembut sebagai wujud inovasi yang lebih moderen. Penelitian ini menghasilkan koleksi dengan penggayaan yang lebih moderen dan kemudian diaplikasikan pada desain womenswear ready-to- wear. Pembuatan motif ini bertujuan untuk mengangkat budaya lokal menjadi sebuah potensi pengembangan desainmotif baru serta menjadi referensi desain pada busana etnik moderen untuk para desainer, pelaku bisnis, dan masyarakat luas

Bambi Abroad, 1924–1954

This paper explores the visual sources that inspired Felix Salten's Bambi, Eine Lebensgeschichte aus dem Walde (1923), and its postpublication legacy in America, Poland, India, Israel, and Russia. While both Jewish and non-Jewish artists embraced the hunted deer motif as their own “national folktale,” the Jewish roots of the visual motif are critical to understanding the revisions and adaptations of the tale in the mid-twentieth century. The case of the myriad revamps of Bambi demonstrates that the nationalist idiom was so elastic in the mid-twentieth century that it functioned as an aesthetic mode rather than an a priori category of identity. At the center of the analysis is the contention that Jewish artists, filmmakers, and writers used the aesthetic properties of the nationalist idiom not only to forge a path to political agency but also to build a shelter from the nation-state.

“The archetype of the pathetic man, between objectivation and objectification”

The study follows the archetype - prototype - stereotype path in the evolution of the plastic model, in order to capture the organic connection between these notions specific to iconic language. The chronology is reversed to capture a contemporary stereotype of advertising images, as a result of an apparent form of expression of female emancipation: the erotic objectification of man. Far from being just „trendy”, the visual motif has a whole history that deserves to be pointed out as the different approaches always reflect the spirit of that era.

Kajian Bahasa Rupa pada Batik Gendongan Lasem Motif Pohon Hayat dan Satwa

Batik Gendongan Lasem merupakan salah satu produk budaya Indonesia yang saat ini keberadaannya sudah mulai hilang, hal tersebut terlihat dari menurunnya jumlah produksi kain batik gedongan di daerah Lasem, serta kerumitan motif serta teknik pembuatannya menambah faktor kelangkaan. Dalam upaya mengenalkan visual motif serta makna dan memaknai unsur desain yang terkandung pada batik gendongan asal lasem, kajian bahasa rupa pada motif batik ini diperlukan. Penelitian ini menggunakan pendekatan analisa wimba pada unsur bagian motif batik. Hasil penelitian menunjukkan bahwa motif-motif pada batik gendongan asal lasem memiliki karakter stilasi primitif dan mengisahkan cerita tentang keharmonisan alam yang memiliki makna cerita tentang doa-doa kebaikan bagi pemakai (ibu dan anak). Studi visual bahasa rupa ini dapat dijadikan acuan bagi para desainer untuk mengembangkan desain motif sebagai inspirasi berkarya agar batik gendongan Lasem dapat dikenal lebih luas

Caminho: do motivo visual para os motivos pedagógicos (Path: from the visual motif to the pedagogical motivations)

This is an critical analysis about path as a cinematic visual motif in two films by Abbas Kiarostami, Where is the Friend´s Home? (1987) and Taste of Cherry (1997), establishing its by cinema. The objective is to discuss the learning informed by cinematic language in school through the pedagogical relations between adults and children, as well as cinema, education and imagination. The analysis starts from the critical studies made by Ragel (2016), Bergala (2008) and Bernardet (2004) on the cinematic language of Abbas Kiarostami, who developed a poetic language and reflection about life. Other audiovisual productions and educational experiences with cinema are connected with theories about childhood, educational processes, and subjectivities. This text aims at pedagogical paths of approach between adults and children, teachers and students in relations that respect otherness and special features.ResumoEsse é um exame crítico sobre o motivo visual cinematográfico: caminho, em dois filmes, Onde Fica a Casa de Meu Amigo? (1987) e Gosto de Cereja (1997), do cineasta e fotógrafo iraniano, Abbas Kiarostami, estabelecendo suas relações com as práticas educativas e os possíveis conhecimentos formados com o cinema. O objetivo é discutir o aprendizado com a linguagem cinematográfica na escola através das relações pedagógicas entre adulto e criança, cinema, educação e imaginação. A análise dos filmes parte da leitura das críticas feitas por Ragel (2016), Bergala (2008) e Bernardet (2004) acerca da linguagem cinematográfica de Abbas Kiarostami, que desenvolveu uma poética artística e reflexiva sobre questões da vida. Outras produções audiovisuais e experiências educativas com o cinema são articuladas a teorias sobre infância, processos educativos e subjetividades. Este texto aponta para caminhos pedagógicos de aproximação entre adultos e crianças, professores e alunos, em relações pedagógicas de respeito às alteridades e especificidades.ResumenEste es un análisis crítico sobre el motivo visual cinematográfico del camino, en dos películas – Onde Fica a Casa de Meu Amigo? (1987) y Gosto de Cereja (1997), del cineasta y fotógrafo iraní Abbas Kiarostami. Se busca establecer sus relaciones con las prácticas educativas y los posibles conocimientos que se constituyen con el cine. El objetivo es reflexionar sobre el aprendizaje a partir del lenguaje cinematográfico en la escuela a través de las relaciones pedagógicas entre el adulto y el niño, el cine, la educación y la imaginación. El análisis de las películas se inicia por una lectura de las reflexiones que hacen Ragel (2016), Bergala (2008) y Bernardet (2004) con respecto al lenguaje cinematográfico de Abbas Kiarostami, quien desarrolló una poética artística y reflexiva sobre temas de la vida. Otras producciones audiovisuales y experiencias educativas con el cine se articulan a las teorías sobre la niñez, los procesos educativos y las subjetividades. Este texto señala hacia caminos pedagógicos de acercamiento entre adultos y niños, profesores y alumnos, en relaciones pedagógicas de respeto a las alteridades y sus especificidades. Palavras-chave: Motivo visual, Cinema, Educação, Infância.Keywords: Visual motif, Cinema, Education, Childhood.Palabras-clave: Motivo visual, Cine, Educación, Infancia.ReferencesBAUDELAIRE, C. O pintor da vida moderna. In: COELHO, T. (Org.). Sobre a modernidade. Rio de Janeiro: Paz e Terra, 1996.BERGALA, A. A hipótese-cinema. Tradução de Mônica Costa Netto e Silvia Pimenta. 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Título original: Lumière! - L’aventure commence.Martins, E.; IMBRIZI, J.; Garcia., M. L. Cinema, subjetividade e sociedade:a sétima arte na produção de saberes. Uma experiência de extensão na Universidade Federal de São Paulo. Revista de Psicologia, São Paulo, v. 8, n.1, p. 75-86, jan/jun. 2017. Disponível em:<http://www.periodicos.ufc.br/ psicologiaufc/article/view/13957/10274>. Acesso em: 1 maio 2018.MOGADOURO, C.; FONTANA, L. A . M. O audiovisual na educação. 2017. Disponível em <https://www.sescsp.org.br/online/artigo/10648_O+ AUDIOVISUAL+NA+EDUCACAO>. Acesso em: 17mai. 2019.ONDE fica a casa de meu amigo. Direção: Abbas Kiarostami. Produção: Ali-RezaZarrin. Kanum, Irã, 1987.1 DVD (87min.). Título original: Khane-ye Doust Kodjast?POLARIS. Direção: Los Carpinteros. Produção: Los Carpinteros. Madri, Espanha, 2014. Monocanal, color, áudio stereo (10 min.).PONTE, A.; MENDES, C.; LAURINDO, M. A distância adulto/criança e seus reflexos no processo educacional. Faculdade de Educação, UFG, Goiás, s.d. Disponível em <https://grupeci.fe.ufg.br/up/693/o/TR23.pdf>. Acesso em: 2 jul. 2017.RAGEL, P. El Camino: caligrafia caminal. In: BALLÓ, J.; BERGALA, A (eds.). Motivos Visuales Del Cine. Barcelona: Galaxia Gutemberg, 2016. p. 44-49.RANCIÈRE, J. A partilha do sensível: estética e política. Tradução de Mônica Costa Netto. São Paulo: Editora 34, 2015.RANCIÈRE, J. O mestre ignorante: cinco lições sobre emancipação intelectual. Tradução de Liliam do Vale. Belo Horizonte: Autêntica, 2002.