The article describes the activity of two Italian photographers: Carlo Bavagnoli (1932) and Mario Dondero (1928). In particular, it focuses on their debuts in the world of photojournalism in Italy since the early 1950s. First, it offers an overview of the national photographic research in the post-Second World War, underlining a significant evolution compared with the past and the complexity of the directions undertaken. Then, in the outlined context, it studies the work of the two photographers and their approach to a socially active photography, dwelling mainly on the relationships interwoven with the ruling publishing system. It also underlines the elements characterizing the nature of their reportages and the distance from an idea of image exploitation, derived from an always increasing interference of the political control over the images destined to mass communication. Both Dondero and Bavagnoli avoid any tendency to spectacularization and to the representative models typical of the common neorealist orientation, proposing an information founded on the effectiveness of narration, on the concreteness and immediacy of evidence; the first collaborations with the most progressive magazines testify the peculiarity of a method that both will coherently develop in the experiences matured outside the Italian contex

Carlo Bavagnoli’s and Mario Dondero’s photojournalism in the neorealist Italy in the post-Second World War (1950-1959). An uncensored gaze

LADOGANA, RITA
2015-01-01

Abstract

The article describes the activity of two Italian photographers: Carlo Bavagnoli (1932) and Mario Dondero (1928). In particular, it focuses on their debuts in the world of photojournalism in Italy since the early 1950s. First, it offers an overview of the national photographic research in the post-Second World War, underlining a significant evolution compared with the past and the complexity of the directions undertaken. Then, in the outlined context, it studies the work of the two photographers and their approach to a socially active photography, dwelling mainly on the relationships interwoven with the ruling publishing system. It also underlines the elements characterizing the nature of their reportages and the distance from an idea of image exploitation, derived from an always increasing interference of the political control over the images destined to mass communication. Both Dondero and Bavagnoli avoid any tendency to spectacularization and to the representative models typical of the common neorealist orientation, proposing an information founded on the effectiveness of narration, on the concreteness and immediacy of evidence; the first collaborations with the most progressive magazines testify the peculiarity of a method that both will coherently develop in the experiences matured outside the Italian contex
2015
photojournalism; Italy; neorealism; Carlo Bavagnoli; Mario Dondero
File in questo prodotto:
File Dimensione Formato  
JournalofLiteratureandART.pdf

accesso aperto

Tipologia: versione editoriale
Dimensione 1.43 MB
Formato Adobe PDF
1.43 MB Adobe PDF Visualizza/Apri

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11584/81318
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact