A morte na apropriação da imagem

Abstract

From the standpoint of phenomenology, inner experiences of the author representing «the other» are questioned and the morbid attributes of the borrowed image of «the other» are considered. Photography is proposed as a paradigm, since photographies can be viewed as a stoppage of perceived time, what, in the author’s perspective, looks like a privileged manner of existence in which he can control the whole picture and every one of its detailed by means of a persistent memory of events. Other artistic ways of representing the «other’s» image – such as literature, theatre and cinema – maintain analogous fixed patterns, implying the immobility and annihilation of «the other».