{"id":2872,"date":"2021-04-26T16:13:33","date_gmt":"2021-04-26T15:13:33","guid":{"rendered":"https:\/\/beat4people.com\/?p=2872"},"modified":"2021-04-26T16:13:33","modified_gmt":"2021-04-26T15:13:33","slug":"el-valor-del-fotoperiodismo","status":"publish","type":"post","link":"https:\/\/beat4people.com\/index.php\/2021\/04\/26\/el-valor-del-fotoperiodismo\/","title":{"rendered":"El valor del fotoperiodismo"},"content":{"rendered":"

\"\"<\/a>El fotoperiodismo, ya sea en redes sociales, medios digitales y\/o prensa impresa, sigue siendo un valioso garante de la informaci\u00f3n y de la responsabilidad social corporativa.<\/p>\n

Buena muestra de ello lo tenemos en la m\u00edtica revista Life<\/em>, por desgracia, desde abril de 2007 solo existe en versi\u00f3n web<\/a>. Su \u00e9xito se debe a haber sabido aunar arte con la informaci\u00f3n de lo que estaba pasando, dentro y fuera de los Estados Unidos m\u00e1s la reivindicaci\u00f3n y el activismo ya sea en un sentido medioambiental o social.<\/p>\n

Lo define muy bien el propio W. Eugene Smith, protagonista de El fot\u00f3grafo de Minamata<\/a><\/em>.<\/p>\n

 <\/p>\n

\u201cA photo is a small voice, at best, but sometimes \u2014\u00a0just sometimes \u2014\u00a0one photograph or a group of them can lure our senses into awareness.\u201d<\/em><\/span><\/p>\n

(\u201cUna foto es un susurro, en el mejor de los casos, pero a veces -solo a veces- una fotograf\u00eda o un grupo de ellas puede atraer a nuestros sentidos hacia la conciencia\u201d).<\/span><\/p>\n

\u2014 W. Eugene Smith, 1974<\/p>\n

(W, por cierto, de \u00abWonderful\u00bb -maravilloso, genial-, seg\u00fan una broma que \u00e9l mismo dec\u00eda).\u00a0<\/span><\/p>\n

\"\"<\/p>\n

Esta pel\u00edcula, que tiene una clara similitud con el bestseller Era medianoche en Bhopal <\/em>(Dominique Lapierre y Javier Moro) que narra el accidente de la planta qu\u00edmica de la empresa Union Carbide en la ciudad india de Bhopal en 1984, nos habla adem\u00e1s de una fase muy humana.<\/p>\n

Como el de alguien que, despu\u00e9s de triunfar, ya sea por desidia, problemas f\u00edsicos o mentales cae en la dejadez y casi en el olvido. Como le sucede al propio Eugene, que vende la mayor\u00eda de su equipo fotogr\u00e1fico para poder ir sobreviviendo d\u00eda a d\u00eda.<\/p>\n

Est\u00e1 tan asqueado que, incluso en plena Minamata (Jap\u00f3n), llega a regalar su c\u00e1mara a un joven afectado por el vertido de mercurio. Un joven que, pese a todo el sufrimiento f\u00edsico (y psicol\u00f3gico), se obsesiona con la fotograf\u00eda, quiz\u00e1 viendo su verdadero valor, y le pide a Eugene que le ense\u00f1e, llegando a crear una profunda relaci\u00f3n en la que pocos gestos, pocas palabras, son suficientes.<\/p>\n

Sin embargo, una vez vistas la injusticia, los peligros y el intento de soborno de los altos directivos de la Corporaci\u00f3n Chisso al propio Eugene Smith para que no siga con el reportaje fotogr\u00e1fico, hacen que \u00e9ste vuelva a involucrarse del todo con su trabajo, arriesgando una vez m\u00e1s su vida.<\/p>\n

Se implica de tal manera que llega a ponerse al frente de las protestas, logrando vencer la timidez, desidia e incluso miedo de la poblaci\u00f3n local para hacerles part\u00edcipes (protagonistas) de sus fotograf\u00edas y que sean \u201cla voz\u201d al mundo de una nueva tragedia medioambiental y sanitaria.<\/p>\n

Otro acierto del film son las secuencias introspectivas, insertadas en el metraje sin interrumpir el buen ritmo narrativo, donde vemos el horror del personaje de Johnny Depp en la guerra del Pac\u00edfico durante la IIGM.<\/p>\n

As\u00ed llegamos a comprender la situaci\u00f3n y complejidad del personaje de Depp, quien, como se\u00f1alan en la nota de prensa, <<se mete en la piel de William Eugene Smith, uno de los m\u00e1s reconocidos reporteros fotogr\u00e1ficos del siglo XX, considerado por muchos como uno de los padres del ensayo fotogr\u00e1fico moderno y uno de los fotoperiodistas m\u00e1s venerados de la Segunda Guerra Mundial. W. Eugene Smith fue reconocido internacionalmente por sus impactantes e \u00edntimas im\u00e1genes en la l\u00ednea de frente del Pac\u00edfico durante la Segunda Guerra Mundial (durante la cual sufri\u00f3 lesiones graves) o las fotograf\u00edas en las zonas rurales de Carolina del Sur>>.<\/p>\n

A partir de ah\u00ed cay\u00f3 en una espiral de dejadez, posiblemente provocado por el horror vivido en el frente, que le llev\u00f3 pr\u00e1cticamente a la ruina, hasta que le lleg\u00f3 su obra cumbre. <<Su ensayo fotogr\u00e1fico final, creado durante una asignaci\u00f3n de tres a\u00f1os, de 1971 a 1974, en la ciudad costera japonesa de Minamata. Su poblaci\u00f3n ha sido devastada por el envenenamiento por mercurio, resultado de d\u00e9cadas de negligencia industrial. All\u00ed, Smith se sumerge en la comunidad y recupera la ilusi\u00f3n por su profesi\u00f3n y con su c\u00e1mara capta las im\u00e1genes que dar\u00e1n la vuelta al mundo>>.<\/p>\n

A la notable interpretaci\u00f3n de Johnny Depp le acompa\u00f1an las igualmente destacables actuaciones de Hiroyuki Sanada, Tadanobu Asano y las breves apariciones de Bill Nighy, quien, junto a Depp, vuelve a regalarnos brillantes actuaciones en la pantalla. Todas ellas comedidas y complejas, por la historia real y tan tr\u00e1gica que est\u00e1n representando en una pel\u00edcula con momentos tensos, momentos crudos, sin filtros ni cortapisas, pero tambi\u00e9n momentos entra\u00f1ables.<\/p>\n

Momentos entra\u00f1ables, sin sacarnos de la historia por ser forzados, como cuando Gene le ense\u00f1a algo de fotograf\u00eda al joven gravemente afectado por el mercurio, ayud\u00e1ndole con la c\u00e1mara, o el momento de la toma de la ic\u00f3nica imagen, Tomoko Uemura in Her Bath<\/em> (el ba\u00f1o de Tomoko Uemura), en Minamata (Jap\u00f3n), que este 2021 cumple 50 a\u00f1os.<\/p>\n

\"\"<\/em>\u00a9EUGENE SMITH. LIFE<\/em> MAGAZINE 1971<\/span><\/p>\n

El fot\u00f3grafo de Minamata<\/em><\/a>, que A Contracorriente Films estrena en Espa\u00f1a el pr\u00f3ximo 30 de abril, previo paso por el BCN Film Fest donde fue presentada por Johnny Depp, es un filme que recomendamos sin lugar a duda.<\/p>\n

Se nota el lograd\u00edsimo resultado final por el mimo que tanto Johnny Depp (uno de los productores adem\u00e1s de protagonista) como el director Andrew Levitas quisieron darle. Ambos, fascinados con el proyecto, se volcaron en todos los aspectos de la producci\u00f3n. Llegaron incluso a capturar sonidos ambientes reales en Minamata; a usar dos tipos de carretes, Kodak para las partes en EE.UU y Fuji Film para las partes en Jap\u00f3n y recrear cuidadosamente los interiores en estudios para asemejarlos al estilo de vida en el Jap\u00f3n de esos a\u00f1os.<\/p>\n

Os dejo a continuaci\u00f3n extractos (en ingl\u00e9s) del dossier de prensa, entre los que se incluyen comentarios de Johnny Depp y de Andrew Levitas que merecen la pena leer.<\/p>\n

\u00a0 \u00a0\u201cI\u2019ve been a fan of Gene Smith\u2019s for a long time,\u201d says Andrew Levitas, director of Minamata<\/em>. \u201cAs a fine artist, as an educator, as a photographer, as a filmmaker, he\u2019s just one of those guys you engage with.\u201d<\/span><\/p>\n

\u00a0 \u00a0 Eugene Smith was internationally renowned for his striking and intimate images, from those captured on the front lines of World War II\u2019s Pacific campaign (during which he suffered major injuries) to his visual profile of a midwife working in rural South Carolina. However, Smith\u2019s most important, impactful and influential work was his final photo essay, created during a three-year assignment, from 1971 to 1974, in the Japanese coastal city of Minamata.<\/span><\/p>\n

\u00a0\u00a0\u00a0 Smith was approached by a woman claiming to want to talk to him about\u00a0 shooting a commercial. This was Aileen Mioko (who he would eventually marry) who asked him to join her in documenting this fishing community and on the ground \u201cMinamata Movement\u201d, a group fighting the injustice of the pollution of the region\u2019s waters by a Chisso Corporation chemical factory for decades. This had led to thousands of cases of mercury poisoning among the local people, who had caught and eaten toxic seafood, but during the previous three decades neither Chisso nor the Japanese government had acted to stop the pollution. It was only in 1968 that the government officially recognized \u201cMinamata Disease\u201d as resulting from it.<\/span><\/p>\n

\u00a0\u00a0\u00a0 During their time in Minamata, Eugene and Aileen became a part of the people of Minamata\u2019s story as they told it in real time. They lived in a house rented from the family of one of the victims. They travelled by bus with the campaigners to the trial. Smith, already suffering from his mortar-fire injuries from the war, was even severely beaten by Chisso hirelings during a confrontation at the corporation\u2019s Goi factory, and as a result suffered blackouts and temporary blindness in one eye.<\/span><\/p>\n

\u00a0\u00a0\u00a0 Gene and Aileen befriended and sensitively took hundreds of photos of the people of Minamata, living with their illness, living their lives, protesting and campaigning for compensation.<\/span><\/p>\n

\u00a0\u00a0\u00a0 But one photograph made a greater impact than any other. Taken in December 1971, Tomoko in Her Bath<\/em> showed a parent tenderly bathing her Minamata Disease-stricken daughter. This black-and-white image is not only considered Smith\u2019s greatest photo, but its stark revelation of the physical impact the illness had on people also drew international attention to the Minamata Movement campaign.<\/span><\/p>\n

(\u2026)<\/span><\/p>\n

Johnny Depp was already very familiar with Smith. \u201cFor many years I\u2019d had a bit of a fascination with him,\u201d says the actor. \u201cI knew Mary Ellen Mark very well. She was a photographer at Magnum for a while and had known W. Eugene Smith, so I asked her about him because I admire his photos. She told me how he was this curmudgeonly but ultra-sensitive sort of Bohemian, a hardened war photojournalist who had seen it all. Then she told me this great story about him. His sense of humour was such that, when he was asked, \u2018What does the W stand for?\u2019 he would say, \u2018Wonderful.\u2019\u201d Depp laughs. \u201cW. Eugene Smith. Wonderful.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 With his passion for photography, Eugene as one of his heroes, and the Minamata story holding such resonance in the current world, taking the role in Minamata<\/em> was, for Depp, \u201ca no-brainer.\u201d But he was keen that the project be developed \u201cto the point where we can really<\/em> tell this story properly,\u201d and he wanted to bring on board collaborators who, he says, \u201cwould bring a new energy and diversify the language for this film.\u201d<\/span><\/p>\n

(\u2026)<\/p>\n

FINDING THE HEROES<\/strong><\/p>\n

Despite the significance of W. Eugene Smith to the Minamata narrative, it was crucial to all involved that the film would accurately portray the events and individuals involved. It wasn\u2019t merely important to highlight the crucial role played by Aileen \u2014 who is still very much active today as an environmental campaigner and executive director for Green Action (Japan) \u2014\u00a0but also the people of Minamata themselves as ultimately it was they who courageously fought and continue to fight this fight.<\/span><\/p>\n

\u00a0\u00a0\u00a0 In September 2018, Levitas and the production team travelled to Minamata. \u201cWe met with some of the surviving victims and their families,\u201d says Levitas. He was incredibly impressed by their resilience and generous spirit. \u201cThis is a community that has had to fight for itself for a very long time and when we asked permission to make the film, they didn\u2019t think of themselves, they thought only of others like them around the world without voice and the need to come together and make certain something like this could never happen again. It was just incredible.\u201d So as he took on development of the script with Infinitum Nihil executives Jason Forman and Stephen Deuters, he was keen it did them justice as much as it told Smith\u2019s story. \u201cThere are hundreds of heroes in this story,\u2019 Levitas explains, \u2018and it was imperative to me, that the narrative structure of the film served the essential truth of the story \u2013 that Eugene, while fully engaged with the community, was a documenter and accelerator of events \u2013 not a driver. He is our way in but ultimately as the two stories weave in and out, it is the Minamata community story, the local one about people on the ground fighting to be heard, which needs to slide forward and become the definitive A-line\u201d\u2026 \u201cIn the final 25 minutes of the film Depp says less than 25 words total\u2026 It\u2019s quite remarkable that Johnny so graciously supported and 100% leaned into that strategy,\u201d Levitas says.<\/span><\/p>\n

\u00a0\u00a0\u00a0 The correct casting of these core roles couldn\u2019t have been more crucial. \u201cIf you\u2019re making a true story set in Japan, you really have to keep your casting authentic,\u201d says Sarkar.<\/span><\/p>\n

\u00a0\u00a0\u00a0 Finding the right actor to play Aileen required an extensive and challenging search. \u201cWe auditioned so many talented actors to play this role,\u201d reveals Levitas. \u201cIt\u2019s a difficult role. Her life experience is so specific. To find a young woman who could do justice to the role and express all the right things seemed impossible. We looked for months and months. Then when it seemed I would never find our leading lady, a tape from Minami arrived, it was immediately clear. We met in London and in the meeting Aileen was there<\/em>.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 Though Minami has been acting since her debut appearance in Battle Royale <\/em>(2000), Minamata<\/em> is her first English-language movie. \u201cI didn\u2019t think I could play a part in English,\u201d she admits. \u201cFor me it was the only challenge. I wanted to act in English because I\u2019d never done that before. I wanted to fight with me and win,\u201d she laughs.<\/span><\/p>\n

\u00a0\u00a0\u00a0 \u00a0\u201cMinami is a phenomenally multi-talented artist, and she has such a staggering presence on screen,\u201d enthuses Sarkar. \u201cShe brought intelligence and real fire.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 For Minamata<\/em>\u2019s second hero, one of Japan\u2019s most internationally well-known performers was approached. \u201cI\u2019ve been a giant fan of Hiroyuki Sanada\u2019s work for many, many years,\u201d says Sarkar. \u201cWhen we found out he was interested, I was over the moon because he really was somebody, I had envisioned being one of these characters. As it turns out, he very closely resembles one of the activists from that time, although his character is a composite of different real people.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 \u201cI play Mitsuo Yamazaki, a leader of the activists, who helps the families, helps the patients, and tries to fight against the company and the government,\u201d says Sanada, star of such movies as The Last Samurai<\/em>, The Wolverine <\/em>and Avengers: Endgame<\/em>. \u201cHe is a leader and a messenger to the world. He has global thoughts: we should stop this now because otherwise it will happen again everywhere in the world. I\u2019ve enjoyed researching the real people, while also trying to create an original character. It\u2019s an interesting job for me.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 The third of Levitas\u2019 heroes is the activist Kiyoshi, also a composite character, played by Ryo Kase (Letters From Iwo Jima<\/em>, Silence<\/em>, Bel Canto<\/em>). \u201cRyo does some phenomenal, very sensitive work in this movie, and he has a few really shocking moments,\u201d Sarkar explains. \u201cI don\u2019t want to spoil anything, but on the days that we shot them, it was electrifying.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 Then, of course, there is Depp as W. Eugene Smith. \u201cI\u2019ve known Johnny for 30 years. I started working with him on 21 Jump Street<\/em> as an extra,\u201d says Sarkar. \u201cI\u2019ve spent most of my life watching him create all these great characters: Edward Scissorhands, Ichabod Crane in Sleepy Hollow<\/em>, Hunter S. Thompson in Fear And Loathing in Las Vegas<\/em>, and George Jung in Blow<\/em>, which is one of my favourite performances of his. But it\u2019s been fun on this movie to watch someone I\u2019ve known this long really surprise me. Sometimes with simplicity, sometimes with humour, and sometimes with raw emotion. Gene was a tragic, troubled person. His editor described him as the most difficult photographer LIFE <\/em>magazine ever had, and Johnny brings all those qualities at just the right moments. His Gene might not be an exact, word-for-word impression of Gene Smith, but it is the soul of Gene Smith.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 Says Depp, \u201cI hope it\u2019s as accurate a portrayal of Gene as I was able to glean from all the information that I\u2019ve read, and from talking to all the people who knew him \u2014 certainly, Aileen. He was complex, you know? Kind of a madman, kind of a genius; a total, lawless, bohemian coming into a culture that is so calm, serene, and peaceful. He is a ticking time bomb. He did not want <\/em>to feel. He had such pain inside that he would do everything he could to escape the feeling. But I think Minamata opened him up again.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 Rounding out this impressive cast are veteran actor Jun Kunimura (Audition<\/em>, Ichi The Killer<\/em>, Kill Bill: Vol. 1)<\/em> as the head of the Chisso Corporation. \u201cWe didn\u2019t want him to be a typical corporate villain,\u201d says Sarkar, \u201cand Jun brings an amazing gravity that brings a little bit more nuance\u201d and British stalwart Bill Nighy as LIFE<\/em>\u2019s editor-in-chief Robert Hayes, who long suffered Gene Smith\u2019s cantankerous nature. Nighy and Depp had worked together before on the first two Pirates of the Caribbean <\/em>sequels. \u201cThere\u2019s a really great dynamic between them,\u201d says Sarkar. \u201cIt was really fun to watch that.\u201d<\/span><\/p>\n

\"\"<\/a>(\u2026)<\/p>\n

WARNING THE WORLD<\/strong><\/span><\/p>\n

When W. Eugene Smith and Aileen Mioko Smith published their photo essay as a book in 1975, it was titled: Minamata: A Warning to the World<\/em>. The creators of Minamata<\/em> hope their film might be seen in the same way, too.<\/span><\/p>\n

\u00a0\u00a0\u00a0 \u201cThe moment this film captures, it was so dynamic, and it helped birth the modern environmental movement,\u201d Levitas asserts. \u201cBut this sort of thing continues <\/em>to happen. We\u2019re living in a world where human protections are being rolled back all over the world. The US is not in a good place at the moment, in terms of rolling back EPA protections, water cleanliness, just basic stuff. It\u2019s ridiculous. We\u2019re now at a low point, and maybe we can have the same sort of effect with the film, instead of a photograph.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 \u201cWhat\u2019s important about this is it\u2019s a tale of humanity,\u201d says Depp, \u201cin the sense that it asks: \u2018how much are you gonna allow yourself to feel?\u2019 Which in turn asks you, \u2018do you feel enough to get involved? Can you take yourself there?\u2019 Because this should, could have been stopped. Just nipped in the bud, way back when. But it wasn\u2019t.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 For actor Sanada, there is a strongly positive aspect to the story, too. \u201cThere is a model case in Minamata,\u201d he believes. \u201cThey recovered and then made their ocean beautiful again. They\u2019ve created a good community now, and the patients\u2019 families can be proud of themselves. So it\u2019s a good message.\u201d<\/span><\/p>\n

That message should also convey the idea that the people of Minamata are not merely victims, believes Sarkar. \u201cI think all of us feel a responsibility to portray them as having strength through adversity. That, to me, is what the photograph Tomoko in Her Bath <\/em>is all about. It\u2019s not about \u2018suffering through\u2019, it\u2019s about \u2018living with\u2019. It\u2019s a universal message.\u201d<\/span><\/p>\n

\u00a0\u00a0\u00a0 \u201cThis is not a preachy movie,\u201d Levitas points out. \u201cIt\u2019s not a social cause movie. It\u2019s just a real movie about real people and living life. It\u2019s about hope and love and the human spirit. I want it to inspire people and touch hearts and minds, to get people to engage in the world in a certain way. But I also want them to love the movie. I want it to be exciting and enjoyable and visually do justice to what Gene did. And what he did was find the most difficult moments and find light and love and humanity in them. It\u2019s an incredibly difficult thing to do. But when you can see the world through that lens, in the darkest moments the world is still a beautiful place. Life is still a gift and a blessing, and he expresses that. I think that\u2019s part of the opportunity of this movie. Part of what I hope we\u2019ve done visually.\u201d<\/span><\/p>\n

\"\"<\/a><\/span><\/p>\n

@EduVicu<\/a><\/p>\n\n\n

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El fotoperiodismo, ya sea en redes sociales, medios digitales y\/o prensa impresa, sigue siendo un valioso garante de la informaci\u00f3n y de la responsabilidad social corporativa. Buena muestra de ello lo tenemos en la m\u00edtica revista Life, por desgracia, desde abril de 2007 solo existe en versi\u00f3n web. Su \u00e9xito se debe a haber sabido <\/p>\n","protected":false},"author":4,"featured_media":2877,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[2],"tags":[94],"jetpack_publicize_connections":[],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/beat4people.com\/wp-content\/uploads\/2021\/04\/MINIMATA_2.jpg?fit=1024%2C667&ssl=1","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/posts\/2872"}],"collection":[{"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/comments?post=2872"}],"version-history":[{"count":2,"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/posts\/2872\/revisions"}],"predecessor-version":[{"id":2896,"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/posts\/2872\/revisions\/2896"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/media\/2877"}],"wp:attachment":[{"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/media?parent=2872"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/categories?post=2872"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/beat4people.com\/index.php\/wp-json\/wp\/v2\/tags?post=2872"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}