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- W2997582665 abstract "The photographed objects are ridiculous not in themselves, but in the narrative that accompanies them or the photograph itself. Therefore, the study of the laughter content of photography is possible in the mainstream of the narrative paradigm. This conclusion is especially appropriate given the colossal spread of modern virtual photorealism due to modern photographic technique and phototechnology.The photograph is inseparable from the narrative and beyond it is meaningless. Even in the case of instant, non-reflective, perception of the photograph, there is its narrative reading. In the simplest case, it has the character of a prenarrative, which can take the form of a detailed narrative or metanarrative. But most often in the perception of photography there are two usual narratives: the narrative of the viewer and the author’s narrative. The first is potentially «folded» in the photo itself, often even independently of the author-photographer, and unfolds in the viewer’s interpretation. The second is present in the author’s intention and unfolds with explanations of the author himself or critics. A funny photo makes a laugh-spirited narrative, which can be both spectator and author.The meaning of the funny (as well as tragic) something gets only in the corresponding narrative. In this sense, the photo can be called a photonarrative. A photonarrative as a model of an ordered and constructed world can represent a fictional world. But the viewer and the photo-author reason and experience, as in the real world. In this respect, the photonarative acts as a form of experiment, where the properties of a fictional world are checked and sometimes realized. Here laughter is one of the selection criteria." @default.
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- W2997582665 date "2019-12-09" @default.
- W2997582665 modified "2023-09-27" @default.
- W2997582665 title "THE PROBLEM OF LAUGHTER IN THE PHILOSOPHY OF PHOTOGRAPHY" @default.
- W2997582665 doi "https://doi.org/10.18524/2410-2601.2019.1(31).186392" @default.
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