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 ...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 context.展开更多
文摘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 context.
