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A Fotografia Documental Na Imprensa Nacional: O Real E O Verosímil

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A Fotografia Documental Na Imprensa Nacional: O Real E O Verosímil A Fotografia Documental na Imprensa Nacional: o Real e o Verosímil Maria de Fátima Lopes Cardoso Tese de Doutoramento em Ciências da Comunicação Maria de Fátima MariadeLopes Cardoso, Fátima Nacional: o Real e o Verosímil, 2014 o Nacional: e Verosímil, o Real A Fotografia Documental naA Documental Fotografia Imprensa Setembro, 2014 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Ciências da Comunicação, realizada sob a orientação científica do Professor Doutor Jacinto António Rosa Godinho A Fotografia Documental na Imprensa Nacional: o Real e o Verosímil Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio. Ao Vicente AGRADECIMENTOS Ao Professor Doutor Jacinto António Rosa Godinho, orientador desta tese, que tantas vezes ajudou a encontrar o caminho certo ao longo desta investigação. A todos os fotógrafos e outras personalidades do jornalismo que participaram nas entrevistas e aceitaram partilhar experiências, opiniões e visões sobre o ser fotográfico e a fotografia, em especial ao Paulo Ricca, Céu Guarda, David Clifford, Leonel de Castro, Luiz Carvalho, António Pedro Ferreira, Fernando Ricardo, professor José Soudo e Luís Vasconcelos. Aos meus pais, sem os quais nunca teria chegado aqui. Ao João Leopoldo. A todas as pessoas que me acompanharam neste caminho e me ajudaram a cumprir os objetivos propostos com esta investigação: Professor Doutor José Manuel Paquete de Oliveira, Professora Doutora Maria João Gamito, Maria José Mata, Manuela Vasconcelos, Emídio Fernando, Sónia Rodrigues, Carla S. Rodrigues, Kátia Soveral, Sónia Rafael, Ana Sofia Santos, Professora Doutora Vanda de Sousa, Carla Carvalho Tomás e tantos outros que não esquecerei. À Fundação para a Ciência e Tecnologia, pelo apoio financeiro a este projeto. À Universidade Lusíada de Lisboa e aos meus alunos da licenciatura em Comunicação e Multimédia. A todos os professores e colegas que se cruzaram no curso de doutoramento, em Ciências da Comunicação da Universidade Nova de Lisboa. Ao CECL (Centro de Estudos de Comunicação e Linguagens), instituição de acolhimento desta tese. A Fotografia Documental na Imprensa Nacional: o Real e o Verosímil Maria de Fátima Lopes Cardoso [RESUMO] Nos últimos trinta anos da imprensa nacional, assiste-se a inúmeras mudanças no papel que a fotografia assume nas práticas editoriais dos jornais, influência da crescente generalização da fotografia digital. No final da década de 80 e início de 90 do século XX, investe-se na fotografia e compreende-se porquê. Ela é uma ferramenta poderosa para a criação de uma identidade editorial e para fidelizar leitores. Nunca a autoria do fotógrafo fora tão reconhecida nas redações como neste período, geralmente, sem comprometer o ideal do rigor jornalístico. A partir do século XXI, assiste-se a uma regressão. Esta tese pretende investigar a importância que foi atribuída à fotografia e ao fotojornalismo na imprensa, nas últimas três décadas, procurando determinar qual o grau de consciência que o fotógrafo tem das escolhas assumidas no ato fotográfico; como é que as opções do autor interferem na imagem final e como é que a fotografia jornalística lida com a questão do real e do verosímil? Para responder a estas e outras perguntas realizou-se noventa entrevistas que foram depois submetidas a uma análise qualitativa. Por mais consciência que o fotógrafo tenha da necessidade de ser objetivo e de retratar a verdade do acontecimento, pessoa ou lugar, a fotografia de imprensa é sempre a perspetiva de alguém que escolhe fragmentos da realidade para reportar ou documentar um acontecimento. O observador, com um olhar ingénuo e sem adotar uma atitude crítica perante a mimese do real, recebe a imagem como sendo a prova irrefutável de um momento que o texto, por si só, não consegue autentificar. É como se o Homem precisasse da legitimação visual para encontrar o seu lugar no mundo e nem a facilidade de edição na era do digital parece retirar à fotografia a crença numa verdade que os olhos não puderam testemunhar. Ironicamente e contra a ideia do senso-comum, a História prova que a dupla essência da fotografia de ser espelho e construção do real - mesmo na imprensa - não resiste à adulteração. Seja instrumentalizada pelo poder, seja para criar dramatismo ou atribuir heroicidade em determinadas cenas, em vez do registo da realidade, a fotografia mostra uma realidade verosímil. A História também demonstra que essa subversão acontece, mas não é um procedimento consciente. Isto porque o fotógrafo de imprensa assume diversas escolhas subjetivas de enquadramento, foco e composição sobre uma cena, não com o intuito de manipular, mas para arrumar o seu olhar sobre o mundo e mostrar o acontecimento numa moldura talhada pelo código ético e deontológico da profissão e pela linha editorial do órgão de comunicação onde exerce funções. Acima de tudo, esta investigação ambiciona confirmar se a confiança que o público deposita na imagem jornalística lhe é merecida. PALAVRAS-CHAVE: Imagem, Fotografia Documental, Fotojornalismo, Técnica, Estética, Verdade, Real, Verosímil The Documental Photography in Portuguese Press: the Real and the Plausible Maria de Fátima Lopes Cardoso [ABSTRACT] In the past thirty years of the Portuguese Press several changes have occurred in the role that photography plays on editorial practice in newspapers, partly due to the growing importance of digital photography. By the end of the 80’s and beginning of the 90’s of XX century, the focus on photography increases and it is easy to understand why. It is a powerful tool to create an editorial identity and increase readers’ loyalty. As never before, the authorship of photography is so recognised in newsrooms as during this period, most of the times without compromising the purpose of journalistic accuracy. From the XXI on we witness a regression. This thesis focus on the research of the importance given to photography and photojournalism in the Press, in the last three decades, and aims at determining to which extent the photographer is aware of his choices made while taking a picture; how do the options taken by the photographer determine the final image? And how do the journalistic photo tackles the question of what is real vs plausible? In order to answer to these and other questions a ninety interviews were made and, subsequently, submitted to a qualitative analysis. No matter how aware the photographer is of the need of objectivity and of portraying the truth of an event, person or place, press photo is always someone’s view, the perspective of someone who chooses fragments of reality to report or document an event. The observer, with a naive view and without taking a critical stand towards the mimesis of reality, accepts the picture as an undeniable proof of a moment that the text alone cannot certify. It is as if mankind needed the visual legitimacy to find its place in the world and even the fact that photo edition is easier in the digital era does not seem to erase this belief that photography shows a truth that the eyes could not witness. Ironically and opposed to the idea of common sense, History proves that the double essence of photography as being the mirror and the construction of what is real - even in the press - does not resist to adulteration. Either manipulated by power, to create drama or convey heroism to certain scenes, instead of being a record of what is real, photography shows a credible reality. History also shows that this subversion occurs, however not as a conscious procedure. This occurs because the press photographer takes on several subjective choices of framing, focus and composition on a scene, not with the intention of manipulating the truth but to place his view on the world and show the event in a frame carved by the ethical and deontological code of the profession and by the editorial policy of the media to which he is working. Above all, this investigation aspires to confirm whether the trust readers put in journalistic image is really worthy. KEYWORDS: Image, Documental Photography, Photojournalism, Technique, Aesthetics, Truth, Real, Plausible ÍNDICE INTRODUÇÃO - Fotografia de imprensa - Metodologias e objeto de Estudo ……………..1 i. A Fotografia de imprensa - Necessidade de conhecimento ………………………………………3 ii. Objeto de estudo - Formulação do problema: o real e o verosímil ………………………. 17 iii. Objetivo do estudo …………………………………………………………………………………………….. 22 iv. Metodologias de investigação e análise ……………………………………………………………... 27 PARTE I Capítulo I - A natureza fotográfica………………………………………………………………………..... 39 1.1.1 A ambiguidade da fotografia……………………………………………………………………………..41 1.1.1.1 Ato fotográfico vs. registo amadorístico ………………………………………………………. 41 1.1.1.2 Confronto de visões ……………………………………………………………………………………...45 1.1.1.3 A ontologia da imagem: entre as sombras e a verdade……………………………….…48 1.1.2 Objetividade e subjetividade: os paradoxos do ato fotográfico……………………....57 1.1.2.1 Subjetividade do olhar: as conquistas da fotografia documental……………………66 1.1.2.2 Olhares comprometidos…………………………………………………………………………………75 1.1.2.3 Quando a fotografia mente……………………………………………………………………………85 1.1.3 O poder da imagem-documento……………………………………………………………………….99 1.1.4 A validade da realidade verosímil…………………………………………………………………….106 Capítulo II - A fotografia documental na imprensa………………………………………………..113 1.2.1 A fotografia enquanto discurso da verdade…………………………………………………….115 1.2.1.1 O compromisso social na génese da fotografia documental…………………………117 1.2.1.2 A crise da fotografia documental………………………………………………………………….125
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