The banal and the prosaic in counter-hegemonic photojournalism

Abstract

This work analyzes two images produced by the collectives Maruim and C.H.O.C Documental based on the aesthetic regime of the arts identified by Jacques Rancière. Its objective is to reflect on possible and potential ways of portraying the “real” in the scope of photojournalism that acts in a counter-hegemonic way. The analysis unfolds in three axes: in the first, the three main regimes of art in the Western tradition (ethical, poetic-representative and aesthetic) are presented, as well as the sharing of the sensitive; in the second, it discusses the notions around what the philosopher calls aesthetic effectiveness and its applicability; finally, in the third, the images that make up the corpus of this work are resumed, which are related to the prosaic and banal power in the construction of other aesthetic-political subjectivities.