Necro- y Geopolítica: "El Reportero", de Michelangelo Antonioni

• Michael J. Shapiro ^[1]
  1. [1] University of Hawaii at Manoa

     University of Hawaii at Manoa

     Estados Unidos

     
• Localización: Geopolítica(s): revista de estudios sobre espacio y poder, ISSN-e 2172-7155, ISSN 2172-3958, Vol. 9, Nº. 2, 2018, págs. 195-208
• Idioma: español
• DOI: 10.5209/GEOP.62457
• Títulos paralelos:
  • Necro- e Geopolítica: Profissão: "Repórter", de Michelangelo Antonioni
  • Necro- and Geopolitics: Antonioni’s "The Passenger"
• Enlaces
  • Texto completo
• Resumen
  • español

    Los soportes de este artículo son análisis de dos tipos de textos visuales situados en África. Comienza centrándose en la película de Michelangelo Antonioni El Reportero (1975), un film sobre un drama personal y cartográfico simultáneamente, que implica la micropolítica de la vida violenta de un periodista y un espacio con un legado de violencia colonial, el país africano de Chad. Termina centrándose en la fotografía de Santu Mofokeng, que expresa la comunidad de sentido entre los ciudadanos negros en la Sudáfrica del post-apartheid.

  • English

    The bookends of this article are analyses of two kinds of Africa-situated visual texts. It begins with a focus on Michelangelo Antonioni’s film The Passenger (1975), a movie simultaneously about a personal and cartographic drama, involving the micropolitics of the violent life of a journalist and a space with a legacy of colonial violence, the Africa country of Chad. It ends with a focus on the photography of Santu Mofokeng, which expresses a community of sense among Black citizens in post-Apartheid South Africa.

  • português

    O suporte deste artigo são análises de dois tipos de textos visuais situados em África. Começa centrando no filme de Michelangelo Antonioni Profissão: Repórter (1975), um filme sobre um drama pessoal e cartográfico simultaneamente, que implica a micropolítica da vida violenta de um jornalista e um espaço com um legado de violência colonial, o país africano de Chade Termina centrando na fotografia de Santu Mofokeng, que expressa a comunidade de sentido entre os cidadãos negros na África do Sul do pós-apartheid.

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