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| | Wounds and Cures. Photography, Artistic Expression, and the Documentary Eye. Mercè Ibarz (Site not responding. Last check: 2007-10-22) |
 | | If we consider the mythical stories he did with Ivens, Buñuel and Storck, we see that they represent three closely related films in terms of their subjects—hunger, isolation, labor with no future or a future unknown to the workers, as well as in terms of their perspective and, especially, in terms of Lotar’s eye. |
 | | In the same way, documentary photographs, films and television have become a group of referents that has encouraged a series of attitudes on the open, bleeding wounds in the world since the 1930s. |
 | | This is the open, bleeding wound that art attempts to heal, just as photography, film, and television have done in their best moments of producing feeling, of producing reality. |
| www.iua.upf.es /formats/formats3/iba_a.htm (2643 words) |
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