Photo-Essay

The project is framed within the line of research in the University of Arts concerned to memory and representation. It seeks to understand the reality of Venezuelan migration from the testimonies of Guayaquil migrant residents, through personal micro-stories and the social imaginaries which lead the emigrants in their periplus around the different countries such as Colombia or Ecuador. And in this attempt to a better understanding of these immigrants, it will be essential to having an imagery to evoke that migratory experience in the viewer, the ones that form the artistic component of the inquiry.
We will start talking about imaginaries, later the exodus, and will discuss about the Venezuelan residents in Guayaquil. After that we will have a chapter devoted to dig into those imaginaries of our interviewees. In the third chapter, we will address the question of art as photographic document, to eventually talking about the presented work. Here we will theorize on the importance of empathy in art.
Our study has taken us to get closer to the psyche of the Venezuelans who have been forced to leave their land to live in some other country. We have opened a space for debate about the exodus and how art can be a tool for social and political change. We leave a work which is basically a transmedia piece pretending trough empathy connect the migrants´ stories of life to the local population.

This course invites students to develop a crossmedia mode of thinking about storytelling in a converged media environment. Students will learn the basics of researching, organizing and telling stories effectively across multiple media platforms (e.g., print, audio, video, and the web) and a variety of social contexts (e.g., public relations, blogging, journalism, speeches, etc.).

With the arrival of photographs on the pages of magazines and newspapers a new format of communication developed: The photo essay. Today, photo essays are ubiquitous. But what led to their invention? The birth of the photo essay can easily be dated with the publication of LIFE magazine in 1936, where the term photo essay has been coined.
A comparison of the first issues of LIFE magazine and LOOK, which appeared a few weeks after LIFE has been successfully launched, sheds some light on what photo essays are – and why they have risen very quickly to take over the publishing world.

Images have invaded nearly every section of our daily lives, from newspapers and magazines to advertisements we see all around. The form that these images take usually is the photograph, accompanied by written (or spoken) words of some sort –
and thus actually forming an interaction of text and images. The culmination of this interaction is the so-called “photographic essay”, a series of photographs depicting a specified topic accompanied by text, usually published in a magazine, in a book or on the internet. To understand the potential of both image and word, a close reading of the seminal photo-essay Let Us Pray Famous Menby Walker Evans and James Agee shows that words can be devoid of the logos, the “logic”, argumentative potential of
language, whereas images on the other hand can be arranged to make sense in a logical way. Let Us Now Praise Famous Menis read as criticism of the photographic essay as it is used in magazines, a criticism that nonetheless shows why and how
the interaction of images with the written word transforms realexperiences into experiences of reality, how it makes information happen.

The central argument of the project The Glitzy Glamour Glitter Girls: Drag Queens,Visual Ethnography and the Ciné Photo-essay is that visual and cinematic essays created by artists can operate as a form of visual ethnography. The project, therefore, broadens social understandings of subcultures. The aim is to photograph and film a specific group of drag queens, following their lives and ideas over a 20-year period.

The traditional approach of anthropology includes a historical distrust of the visual as scientific data. Within this research project, the practice and boundaries of visual ethnography will be mapped in the friction and fissures created from the intersection of art and social science in practice-led research. The research expands the classifications within the practice and theory of visual ethnography from the distinct genres of photography and film in visual research to include a new hybrid visual form that I designate as ciné moments and the ciné photo-essay.


The project uses the archival material of a black-and-white photographic essay captured by the photographer turned filmmaker/researcher as a catalyst to create a new body of work using still and moving images. The research project rememorialisesphotographs taken in The Laneway, which is actually a series of laneways off Hill Street in Surry Hills in Sydney, Australia, during public street parties after gay and lesbian events such as Mardi Gras and Sleaze Ball. The original photographs depict three drag queens, known as the Glitzy Glamour Glitter Girls, and street culture that has disappeared.

The photo-essay is an under-theorised subject area within the trajectory of documentary history, according to theorists Timothy Corrigan in The Essay Film: From Montaigne, After Marker (2011) and Philippe Mather in Stanley Kubrick at Look Magazine: Authorship and Genre in Photojournalism and Film (2013). The photo-essay, a series of still photographs that creates a narrative or statement, has been historically tied to print media and photojournalism. The demise of traditional print outlets in the media and the proliferation of online slideshows through the internet have created new horizons for the photo-essay to expand. This project will explore the still and moving essayistic in visual media to find the gaps and overlaps between the traditional and experimental aspects of visual ethnography.

Lens-based visual artists and anthropologists Sarah Pink, Trinh T. Minh Ha and Anna Grimshaw expand the margins of the visual within the trajectory of ethnography and methodology. The Glitzy Glamour Glitter Girls: Drag Queens, Visual Ethnography and the Ciné Photo-essay weaves still and moving images into a hybrid form that lifts the mask off a subculture of drag queens in Sydney.

The PhD thesis comprises an installed exhibition of still and moving images as a film projection (in an art gallery space) and an exegetical document of 50,000 words that will explicate the methodological process and disciplinary context of the research.

The session described how photo essays aided me to develop and practice my reflective skills for personal and professional purposes during my graduate studies for M.Ed. at Aga Khan University. It illustrates samples of how I critically analyzed my beliefs and transformed them by combining photographs. Moreover, how I tried to be creative and weave in my personal and professional narratives (the photographic memory) to contribute in reflective conversation in my courses. It also sheds light on how I used photographs for participant profiles in my graduate research. The session also had practical tips regarding forming photo-essays and it usage for reflection.

In this photo essay, we take you on a visual journey to Akina Village in Amami Ōshima, Japan, through the work of Futoshi Hamada, an award-winning island photographer and ecologist. Based on the artist's Mura (2001) photographic work that documented the natural cycle of the village's rice cultivation and the harvest festivals associated with it, we aim to explore the concept of the island's ecocultural identity as it manifests through the artist's and the community's unique connection with the island nature and culture. As Akina is the last remaining village on the island where rice cultivation is still taking place, and linked to the harvest festivals, the visual documentation of these practices provides us a rare glimpse into what was once an integral part of Amami's natural, socio-cultural, and spiritual/animistic islandscape before sugarcane was imposed on the islanders by mainland Japanese agricultural interventions and impositions.

If the conflict between politics of documentation and aesthetics of expressions has long been the object of inquiry, it is time to let go of these debates to pursue forms of expression that do not seek to validate or invalidate documentations of events. Braided into camera/media narratives are reported facts and fictions, collective memories and individual testimonies, past and present, conservation and loss. In the field of photography, such notions have become a question of representation: a debate of form over content, of figuration over abstraction. My visual work interrogates these tensions, shifting boundaries, ambiguities, and affective spaces. "Journey to Amerika" presents migration to the United States with photographs that I have taken in Tapachula, which is known in Chiapas as "Prison City" (Mexico-Guatemala border), and in makeshift migrant camps in Reynosa on the Rio Grande (US-Mexico border). What pain and photography share, besides an incomplete reference to the world inside and outside of us, is their overwhelming immediacy, silence, and stillness. They both confront us with whom we are in our solitude. They are quiet, yet they demand a form of listening with our eyes. This has led me to raise the following questions regarding my own practice: How can I come to terms with my photography of people who are suffering, if the proliferations of representations of pain and suffering reproduce the same logic of violence they seek to disrupt? Is there a nonviolent way of looking at pain? Is there a way to interrupt and disrupt the circuity of representations of violence? And while there has been a shift of focus from the ethics of seeing (the gaze, voyeurism, witnessing) to an analysis of the social dynamics of the photographic event, my approach to photography offers a release from shame, bad consciousness, and guilt. As I am writing, an unprecedented number of migrants from Africa, Haiti, Cuba, and South and Central America are stranded in Mexico on their way to the United States. In fact, this is an historic displacement of people traveling to the United States. We all know that migration and displacement are structured by political corruption, white supremacy, and historical injustice. Yet life stands still for migrants who were deported or denied the legal process of seeking asylum in the United States under Title 42 (a public health measure introduced by President Donald Trump and continued by the Biden administration). The long migrant routes toward the United States are plagued by operating drug cartels, crime, kidnappers, guides, and human smugglers and continues to be extremely dangerous. Stories

Il volume intende fare luce sulla vicenda che portò Mario Giacomelli alla realizzazione di A Silvia (1964), il celebre foto-racconto ispirato all’omonima lirica di Leopardi e di cui fino ad oggi si erano perse le tracce. La sequenza fotografica, costruita a partire da una sceneggiatura di Luigi Crocenzi e Alvaro Valentini, si colloca al centro di uno dei capitoli più affascinanti e meno indagati della storia della fotografia italiana del dopoguerra e dei rapporti tra letteratura e fotografia. Essa costituisce inoltre una tappa fondamentale in quel processo di maturazione che porterà Giacomelli a lavorare per decenni ai testi poetici di Pavese, Montale, Borges, Corazzini e lo stesso Leopardi, assumendo la statura di rilievo internazionale che oggi tutto il mondo gli riconosce.
Viene presentata in anteprima assoluta la sequenza originaria di A Silvia, ricomposta da Marco Andreani attraverso un minuzioso lavoro di ricostruzione filologica e di ricerche d’archivio durato tre anni.  A Silvia rientrava in un ambizioso progetto di Crocenzi: quello di diffondere la grande tradizione letteraria italiana presso le classi popolari attraverso la traduzione in immagini dei suoi testi più significativi. Le ‘traduzioni’ verranno affidate ai più grandi fotografi di quel momento (lo stesso Giacomelli, Ugo Mulas, Ferdinando Scianna ecc.), filmate e mandate in onda dalla RAI all’interno della trasmissione Telescuola nel 1964.
La sequenza di A Silvia viene presentata anche nella variante del 1988, insieme alla serie completa de L'infinito (1986-88), per dare modo al lettore di fare un confronto e avere uno spaccato della straordinaria evoluzione stilistica di Giacomelli nel corso degli anni. Le immagini sono accompagnate da negativi, varianti di stampa, carteggi e documenti inediti che ne illustrano la genesi, le soluzioni espressive e il contesto culturale ricco di fermenti e di impegno civile in cui ebbero origine.

A Polish/English book consist of two parts: in the first one Marianna Michałowska and Krzysztof Szymoniak are discussung the photographic culture, in the second part of the book a photo-essay by Michalowska is presented. The photo-essay contain images and reflections on European cities.
The book closes and summarizes a series of publications titled "Photographers of Wielkopolska" (editor: Wielkopolska Biblioteka Publiczna i Centrum Animacji Kultury w Poznaniu [Greater Poland's Public Library and Centre for Cultural Animation in Poznań].

I portray mnemonic practices of Iranians who engaged with the past and keep the memories of martyrs of the Iran-Iraq War (1980-1988) alive within frames and words. Through pictures taken during the annual commemoration of martyrs in southern Iran, I show how religiosity, politics and generational guilt are entangled in postwar Iran. I move against the grains of memory studies and visual anthropology by maintaining the silences and what is left unsaid instead of rendering war memories, acts of remembering and ways of seeing epistemologically coherent. I argue remembering is a practice locally shaped according the politics of everyday life and not by imagined presupposition of memory scholars. Therefore, I draw an ontological approach towards memories in Iran by ways of seeing and religious worldview of those implicated in the Iranian memory machine.

This photo essay is an attempt to register the complex political valences of certain shared formal preoccupations in the cinematic, photographic, videographic, and new media works/interventions of Shirin Neshat, Lalla Essaydi, Mona Hatoum, Ana Lily Amirpour, Amina Sboui, and Nadia El Fani. What is contested here is the so-called readability of images, especially those by Middle Eastern women, as these coalesced during the late colonial and postcolonial periods and as they continue today. The “photo-grams” that constitute the essay function neither as illustrations nor as counter-readings, but as frames of a lost or imagined film these filmmaker-photographer-new media activists might have made—despite or perhaps because of their political-geographical-temporal dispersion—as a kind of collective.

The Documentary  School oF Santa Fe and its founder, Fernando Birri, are inescapable references in the story of the New Latin American Cinema. The school grew out of a brief course offered by Birri in 1956. The young Argentine had recently returned from studies at the Centro Sperimentale di Cinematografia in Rome, and he was asked to help organize a course on film with the Instituto Social at the Universidad Nacional del Litoral (UNL) in Santa Fe, Argentina. The course was deemed a great success and, soon thereafter, Birri and the UNL institutionalized their efforts by establishing the Instituto de Cinematografía, which began offering classes in April 1957. In the years that followed, the IC would further consolidate itself, becoming known across Argentina and throughout Latin American for its focus on social issues of the time.
This chapter returns to 1956 and the beginnings of that experience. There, the local converged with the transnational, and an internationally renowned film program was born out of a faith in amateurs—their knowl- edge, their perspective, and their capacity for self-expression. In Part I, we show how Birri’s initial effort—an introductory course on documentary,offered at the university’s margins (as part of its extension program, out of the social sciences division), and counting among its enrollees painters, schoolteachers, lawyers, even social workers—drew inspiration in equal parts from professional and amateur realms. In Part II, we analyze a key aspect to the filmmaker’s early approach: the use of fotodocumentales—photodocumentaries or photo essays—as a first step for those learning to make films. We reconsider this practice of using photography and social surveys as borrowing from the possibilities of the amateur. The act of taking a pic ture or asking a question made the filmmaking effort accessible to enrollees with little or no background in production, and it was an adequate first step given the limited initial resources of the IC. Most important, fotodocumentales helped focused students’ attention on the capturing of local realities  and on the social possibilities of the cinema. As such, although clearly part of a certain (socially and politically conscious) professionalization project, these practices belong to the broader field of amateur cinematic cultures for providing an alternative vision of cinema’s social function and an alternative means of institutionalizing nonindustrial cinematic practices. In Part III, we focus on the well-known documentary Tire-dié (1958–1960). We look at the project’s evolution from a student-made fotodocumental to the IC’s first documentary film, finished in 1958. We pay special attention to the film’s deliberately noncommercial character, both in terms of how it was produced and how it was used socially, across informal networks of exhibition, through community screenings and postscreening audience surveys. Finally, in Part IV, in order to show their impact in later professional film production at school, we return to those unpublished surveys. We note that Birri and his team utilized commentaries from nonfilmgoing audiences to assess their successes in film and to develop the next set of films—a series that, as with the others, featured almost exclusively amateur actors.
Birri himself was no “amateur,” and his film school quickly became a point of cinematic reference the Latin America, but the initiative, at least in its origins, stemmed from a bottom-up approach, one that drew inspiration, where not direct investment, from local, amateur practices and bases of knowledge. In many ways, it was the IC’s incorporation of amateur participants, from its students and its film subjects to the neighborhood audiences with whom it shared its films, as well as their association with alternative film cultures, such as local “foto” or “cine-clubs,” that proved an ideal means for training future professionals, thus demonstrating the fluid and productive boundaries between the amateur and the professional. In so doing, the IC’s particular approach charted a new path for the institutionalization of innovative cinematic practices.

In:  In: Masha Salazkina and Enrique Fibla (eds.), Global Perspectives on Amateur Film Histories and Cultures. Indiana University Press, 2021; 149-168.

"You can enter into the Chaco; you can leave it", so say the people living on the banks of the Pilcomayo River, which divides Argentina from Paraguay. As if where the paved road ends and the forest begins, a world is replaced by another: the Land, that the Wichí people call "Honhat", the most precious and precarious thing for indigenous people and campesinos who inhabit the semi-arid region, affected by decades of political struggles to obtain the legal title of the lands where they live. Honhat is an ongoing project that is a part of a large ethnographic research about the restitution land process that I started conducting from 2009 in Salta Province (Argentina).

Luis is an Aymara boy whom I have known since his birth in 1996. Although he and his mother were not initially
central to my research on migration in the Andes, they belong to the family I worked with in El Alto, Bolivia. During
a return visit ten years later, I recognized the importance of his story within my research, and thus reviewed my field
notes and photo library to find images and stories about them. Photography plays a major role in my research, as
I use images as mementos as well as stimuli for discussion. With the benefit of 20/20 hindsight and 15 years’
distance, Luis and Basilia represent the quintessential migrant experience, one I may have overlooked if I had not
asked new questions of old data. [Aymara, Bolivia, compadrazco, El Alto, image analysis, migration, photo essay]

Das Phänomen des Bildes ist in vieler Munde - und vor aller Augen.
Bilder, insbesondere Fotografien, sind in der heutigen Gesellschaft allgegenwärtig. Ermöglicht hat dies das Genre des fotografischen Essays. Die Erfindung der Fotografie hat zur Erschaffung einer riesigen Industrie geführt, die sich alleine der Produktion und Verbreitung von Bildern widmet. Dieser Industrie entspringt ein Bildvolumen, das in der Geschichte seinesgleichen sucht - Bildagenturen verarbeiten jeden Tag mehrere Tausend Fotografien, in digitalen und analogen Archiven weltweit lagern Milliarden von Bildern. Diese Bilder sind in den Alltag der heutigen Menschen integriert. Ermöglicht hat diesen Siegeszug des Bildes das Genre des fotografischen Essays, ein Genre, das Bild und Text mit filmischen Mitteln zu einem unschlagbaren Ausdrucksmittel kombiniert.

Link to full article: https://www.tandfonline.com/eprint/5VCEJ84ZMTXCAMJPGSBU/full?target=10.1080/17514517.2020.1815967
Magnum Photos is a legendary photographers’ cooperative, which produced iconic pictures and helped define and promote the profession of photojournalist. This paper interrogates the agency’s contribution to the history of post-war photojournalism during its first years (1947–1960), focusing on “distributions,” sets of pictures with accompanying texts and captions that were circulated internationally to magazines and partnering agencies. Distributions renewed the tradition of the photo-essay and inspired generations of Magnum photographers. In Magnum’s myth, they have been presented as a revolutionary invention that enabled photographers to secure complete control over their work, embodying the cooperative’s ideals of freedom and independence. This paper argues that distributions played indeed such a role, but indirectly, as a process rather than a result: they were in fact a stepping stone that helped Magnum members to support their personal work. This study demonstrates how, during the agency’s first years, distributions represented a compromise between the photographers’ visions and the needs of the market. Distributions thus form one specific instance of the famous nexus between words and pictures, and art and journalism.

https://www.thejugaadproject.pub/home/spectres-of-obligation-care-across-realms-in-northern-thailand

Goosebumps. A dream of a departed loved one or a long-lost friend. A sudden urge for beer. A glimpse of a figure. The pulsing beat of a drum bringing one to dance. People in Northern Thailand report and circulate a wide range of signals from the otherwise unseen. Amidst any fears or repulsions these encounters may provoke, a sense of obligation is pronounced. With a spontaneous chant or a trip to a temple to make merit, people often move on behalf of those who do not have the body to do so. What might come of considering relations with spirits in terms of care? Care has emerged in recent years as a generative site of ethnographic inquiry and anthropological theorizing, imbued with moral, political, psychological, and practical significance. This photo essay contributes to this arena by probing what attuned perceptions and trained responses to Thai spirits, ghosts, and ancestors can reveal about care and the force of felt obligation.

"You can enter into the Chaco; you can leave it", so say the people living on the banks of the Pilcomayo River, which divides Argentina from Paraguay. As if where the paved road ends and the forest begins, a world is replaced by another: the Land, that the Wichí people call "Honhat", the most precious and precarious thing for indigenous people and campesinos who inhabit the semi-arid region, affected by decades of political struggles to obtain the legal title of the lands where they live. Honhat is an ongoing project that is a part of a large ethnographic research about the restitution land process that I started conducting from 2009 in Salta Province (Argentina).

Photo essay: The layers of overlapping,
crumbling, moss-ridden tiles speak to the overlapping, crumbling
and nature-reclaiming temporal and spatial frameworks
of coloniality, post-coloniality and indigeneity. It is possible to
see the straight lines of a ‘civilizing’ empire; neoliberalism’s desire
to produce global representations of sameness; land’s material,
economic and poetic instability; ghostly hauntings from the
past and future; insecure masculine militaristic language; and
the scattered remains left by the transmogrifications of empires.

¿Por qué retratar gente leyendo? ¿Qué enseña lo visual que no esté ya en el discurso escrito? Existe la intención de captar algo que se pierde en las figuraciones abstractas del Lector (las propias, por ejemplo, de algunas teorías filosóficas o literarias): por un lado, su rostro único y singular; por otro, una relación particular (así sea de ruptura o no) con un determinado contexto,
arquitecturas, escaleras, ventanas, muros, azoteas, cristales... El rostro iluminado se torna punto de fuga. La isotopía del discurso visual se rompe, mostrando el hecho de que toda lectura consiste en dos tiempos que se encuentran. En el lenguaje de una sociología fenomenológica, diríamos que el tiempo fuera del tiempo (time-out of-time) del texto es contrapuesto al aquí-y-ahora de la persona, su cuerpo, su cansancio, su gesto, su postura. Su mirada. La fotografía nos devuelve el cuerpo lector, su vigor o relajación, la vista capturada o ausente, fisgando por encima del hombro o en abstraída soledad, bostezando o matando el rato. Esa captura es un cortocircuito que se adivina entre ambos tiempos, de cuyo registro solo la fotografía parece capaz. Como afirman Jorge y Julián, no deja de resultar paradójico el hecho de que necesitemos de la imagen «para recomponer el sentido de nuestros encuentros con el texto».

This photo-essay is the product of a period I spent in the winter of 2017 as a photoethnographer accompanying hunters on their outings in the woods of the Merse River Valley (Val di Merse). Iesa is a small community in the Municipality of Monticiano, in the heart of the Val di Merse, a large wooded zone between the provinces of Siena and Grosseto in southern Tuscany. It is made up of 6 small, linked villages, considered individual nuclei by their residents, little villages-within-a-village. Some of them are groups of buildings centered around what were once farms, typical of sharecropping-era Tuscany, separated from the agglomeration of houses that more closely resembles a village. The 2011 census reported 246 residents, with one surely noteworthy statistic: 18 different nationalities are represented. In fact, the population is made up of Italians, Thais, Ukrainians, Americans, Albanians, Bulgarians, Swiss, Brazilians, Germans, Brits, Kosovars, Moroccans, Moldavians, Macedonians, Poles, Romanians, Russians and Serbs. In Iesa, as in many other places in Italy, hunting is marked by a constant balancing of nostalgia for a lost past and a present in which hunting groups must rely on the participation of hunters from outside the area to continue their hunting activities, since none of the foreign-born local residents are interested in hunting or possess the requirements to practice it-a gun permit and a hunting license. In Iesa, wild board hunting serves to consolidate relationships between people and also to define their relationships with non-human elements: the territory and animals. This aspect emerges in familiarity with places, in place names, and in the care with which animals are "raised" in anticipation of being hunted. In the context of an inexorable process of depopulation of Tuscan villages and the significant changes brought about by the presence of migrants or immigrants, the practice of hunting-although often instrumentalized in arguments for a presumed continuity of territorial identity-needs to bring in "occasional" hunters from various parts of Italy who view hunting as a hobby; otherwise, local residents would not make up the number required to create a hunting group or team. BIO Pietro Meloni (1974) is lecturer of Anthropology of Consumption at the University of Siena. He conducts several researches in Italy about mass consumption, material culture and practices of everyday life. His recent books include "Il tempo rievocato. Antropologia del patrimonio e cultura di massa in Toscana" (2014) and "Antropologia del consumo. Doni, merci, simboli" (2018). pietro.meloni@unisi.it Il bosco d'inverno Nel testo L'utopie de la nature: chasseur, écologistes et touristes (1996), Sergio Dalla Bernardina dedica una lunga riflessione alla sofferenza del cacciatore contemporaneo, il quale spesso non esiste se non in relazione al passato: commemora un modello ormai scomparso che fa ponte tra l'attività venatoria di oggi, vista sempre più come qualcosa di amatoriale, e il suo antenato mitico, il vero cacciatore. Faccio mie queste osservazioni di Dalla Bernardina che ho avuto modo di riscontrare più volte a Iesa, piccolo borgo nel cuore della Val di Merse senese, luogo dove da alcuni anni conduco un'indagine etnografica sulle pratiche di vita quotidiana. A Iesa, infatti, la maggior parte della popolazione-e si tratta di un centinaio di persone in tutto-è legata alla caccia in maniera profonda:

O caminhar como uma forma de pensar e interagir com o espaço urbano se tornou recorrente em diferentes áreas do conhecimento. No campo das Artes esta prática se tornou a poética de muitos artistas desde o final do século XIX . O trabalho a ser apresentado neste texto começou a ser pensado com o objetivo de abordar a transformação urbana da zona sul de Porto Alegre por meio do caminhar, entretanto ao começar a desenvolver este projeto, a artista percebeu que pouco se fala deste assunto por um viés do gênero feminino. O intuito do presente artigo é fazer refletir sobre a mulher no espaço urbano através da atuação desta autora como artista e pesquisadora, unindo a caminhada, a fotografia e a reflexão textual resultando na série fotográfica Até Onde Ela Vai: Um Inventário Poético da Zona Sul de Porto Alegre.

"Invisible Histories" introduces lay and academic readers to images as a tool to understand and write history critically, one that can illuminate historical events and their representation. This photo-essay compares four propaganda posters painted after India’s war with China in 1962 to show how images have been produced to try to rescue state legitimacy after military defeat. Through a step-by-step deconstruction and comparison of these posters, the essay offers a pedagogical example of how to “read” and interpret images.