Ética Periodística a Principios del Siglo XXI - Monitorando

Por eso, este modelo de análisis incorpora categorías etnometodológicas que permitan
valorar las interpretaciones tanto del “productor” como del receptor involucrado en
las imágenes (inmigrantes subsaharianos).
ABSTRACT
Kant asked how can we orient ourselves into thinking? In this study we ask how can we
orient ourselves into the images?
This paper proposes an analysis methodology to identify the semiotics architecture of
documentary photography, so that we can analyze the iconographic types that occur
daily in the immigration photo spread in the media. On a corpus of images that capture
the arrival of immigrants to the Spanish coast, will try to validate the hypothesis that
the visual discourse of photojournalism convey ethnocentric social representations.
Photographer, who chooses the techniques for their products, creates its own semiotics.
His visual messages are constructed, from its cultural and ethical code, so the effect of
Photography in the recipient depends in part on the construction undertaken by the
author, as well as the cultural and historical context in which he "reads" the photo. We
need a semantic analysis process to "read" the discourse of the photographic message,
without losing sight of the communicative purpose and context of sending and receiving
messages.
Therefore, this model incorporates ethnomethodological categories for evaluating the
interpretations of both the "producer" and the receptor involved in the images
(subsaharian africans).
PALABRAS CLAVE: fotografía documental, etnocentrismo, etnometodología,
análisis de contenido, inmigración
KEYWORDS: documentary photography, ethnocentrism, ethnomethodology, content
analysis, inmigration
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