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oai:doaj.org/article:b7e0feca80bf4054b9de32eff840d87f

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Sara Castrejón: photographing the revolution, representing women

Abstract

This article presents an analysis of the photograph of Sara Castrejón during the Mexican Revolution and as part of the development of Mexican photographers. It is examined from photohistory, an aspect of the historical methodology in which photographs serve as primary sources. Thus, the process is history, discover documents and analyse them from the perspective of other primary sources; these include interviews and, in addition, secondary sources are incorporated to contextualise the study. He wondered how Castrejón was living as a photographer studying in the middle of a civil war and his political position, compared to other study photographers. In addition, a feminist perspective is included when it comes to inquiring about the opportunities for women to earn their lives during this period and how Castrejón’s decisions differed from the traditional pattern. It also analyses the particularities of Castrejón’s photograph showing how its gender was expressed in his imaginary. The images of Castrejón are seen as an example of a ‘vernácula’ photograph, the one produced outside the art fees (Batchen, 2000). In this regard, the study could be seen as inspired by post-modern photographic theory by moving art photography from its dyscursive domain.

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