The thesis is mainly based on the curiosity to analyze and explore the possible applications of archiving and cataloging; starting from its simple definition, I wanted to apply this concept to a very personal album of family photographs. Today, thanks to the practice of found footage, that is the use of images taken, re-edited and re-used, it is possible to give the images new meanings capable of calling into question their first interpretation. Using a supporting bibliography I briefly dealt with the photographic album both as an object and as a simulacrum of an immaterial memory. The thesis, in fact, starts from what Marco Bertozzi defines the scene of the affections, a presumed area of iconographic immunity, that of the private family album, which thanks to new technological devices, sees or better sees the light and where private material becomes public and in a certain sense contributes to the growth of the concept of collective memory. Starting from what I explained in the previous paragraph, then, I focused on the cataloging and dating of an old album of family photographs. The album in question contains 110 black and white photographs, dating all between 1952 and 1964; the layout of the photos inside the album does not follow any chronological order, which is why it was necessary to subdivide, where possible, the photos into sub-groups that would facilitate their cataloging. Fortunately, moreover, I was able to "take advantage" of an excellent historical source still alive: my maternal grandmother, who, moving freely in her own photographic memories, helped me to reconstruct the chronological order of the album, revealing and telling me, in addition, anecdotes that hide behind some shots.
La tesi nasce principalmente dalla curiosità di analizzare ed esplorare le possibili applicazioni della pratica di archiviazione e catalogazione; partendo dalla sua semplice definizione, ho voluto applicare tale concetto ad un personalissimo album di fotografie di famiglia. Oggi, grazie alla pratica del found footage, cioè l’utilizzo di immagini riprese, ri-montate e ri-usate, è possibile dare alla immagini nuovi significati in grado di rimettere in discussione la loro prima interpretazione. Servendomi di una bibliografia di supporto mi sono occupata brevemente dell’album fotografico sia come oggetto sia come simulacro di una memoria immateriale. La tesi, infatti, parte da quella che Marco Bertozzi definisce la scena degli affetti, una presunta zona d’immunità iconografica, quella dell’album privato di famiglia, che grazie ai nuovi dispositivi tecnologici vede, o meglio ri-vede la luce e dove il materiale privato diviene pubblico e in un certo senso contribuisce all’accrescimento del concetto di memoria collettiva. Partendo da quanto spiegato nel paragrafo precedente, quindi, mi sono concentrata sulla catalogazione e datazione di un vecchio album di fotografie di famiglia. L’album in questione contiene 110 fotografie in bianco e nero, databili tutte tra il 1952 e il 1964; la disposizione delle foto all’interno dell’album non segue assolutamente alcun ordine cronologico, ecco perché è stato necessario suddividere, chiaramente dove possibile, le foto in sottogruppi che facilitassero la loro catalogazione. Fortunatamente, inoltre, ho potuto “usufruire” di un’ottima fonte storica ancora vivente: mia nonna materna, la quale, muovendosi liberamente nei suoi stessi ricordi fotografici, mi ha aiutato a ricostruire l’ordine cronologico dell’album, svelandomi e raccontandomi, inoltre, aneddoti che si nascondono dietro alcuni scatti.
Quello che le foto non dicono: tra vita quotidiana e gite fuori porta.
CUZZOCREA, MIRYAM
2017/2018
Abstract
The thesis is mainly based on the curiosity to analyze and explore the possible applications of archiving and cataloging; starting from its simple definition, I wanted to apply this concept to a very personal album of family photographs. Today, thanks to the practice of found footage, that is the use of images taken, re-edited and re-used, it is possible to give the images new meanings capable of calling into question their first interpretation. Using a supporting bibliography I briefly dealt with the photographic album both as an object and as a simulacrum of an immaterial memory. The thesis, in fact, starts from what Marco Bertozzi defines the scene of the affections, a presumed area of iconographic immunity, that of the private family album, which thanks to new technological devices, sees or better sees the light and where private material becomes public and in a certain sense contributes to the growth of the concept of collective memory. Starting from what I explained in the previous paragraph, then, I focused on the cataloging and dating of an old album of family photographs. The album in question contains 110 black and white photographs, dating all between 1952 and 1964; the layout of the photos inside the album does not follow any chronological order, which is why it was necessary to subdivide, where possible, the photos into sub-groups that would facilitate their cataloging. Fortunately, moreover, I was able to "take advantage" of an excellent historical source still alive: my maternal grandmother, who, moving freely in her own photographic memories, helped me to reconstruct the chronological order of the album, revealing and telling me, in addition, anecdotes that hide behind some shots.È consentito all'utente scaricare e condividere i documenti disponibili a testo pieno in UNITESI UNIPV nel rispetto della licenza Creative Commons del tipo CC BY NC ND.
Per maggiori informazioni e per verifiche sull'eventuale disponibilità del file scrivere a: unitesi@unipv.it.
https://hdl.handle.net/20.500.14239/10300