This essay compares—and analyzes the gap between—photographs taken by an ethnographer (myself) and photographs taken by interlocutors during a 64-day protest occupation of a public high school in one of Rio de Janeiro’s working-class neighborhoods. My photos (figs. 1–4, 9–10) foreground upended spatial and social arrangements in the fashion of Global North movements such as Occupy Wall Street. In contrast, the photos taken by the students (or ocupas; figs. 5–8) are instruments for thinking materially across a history that includes but exceeds strictly present spatial arrangements. They are not objective representations of static, unyielding space (and its ruination), but rather reminders of a not-so-distant history, gesturing toward radical contingency and the possibility of vindicated social and political rights. Taking as its starting point both the photographs of the ethnographer and those of the interlocutors—cultural production in their own right—the photo-essay proposes a methodology that proceeds by retroactively mining the gap between the two for insights. Taking a cue from proponents of multimodality, it concludes by making an argument for taking images as seriously as words, pointing to the implications of such a move for the way we study the uses and meanings of media as they intersect with vanguard youth cultures in the contemporary moment.

中文翻译：

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相机杯

这篇文章比较并分析了人种学家（我自己）拍摄的照片与对话者在里约热内卢工人阶级社区之一的一所公立高中进行为期 64 天的抗议占领期间拍摄的照片之间的差距。我的照片（图 1-4、9-10）以占领华尔街等全球北方运动的时尚前景颠覆了空间和社会安排。相比之下，学生（或 ocupas；图 5-8）拍摄的照片是在历史上进行物质思考的工具，其中包括但超出了严格的当前空间安排。它们不是静态的、不屈不挠的空间（及其毁灭）的客观再现，而是对一段不那么遥远的历史的提醒，指向激进的偶然性和维护社会和政治权利的可能性。以民族志学者的照片和对话者的照片（本身就是文化生产的照片）为出发点，照片文章提出了一种方法论，通过追溯挖掘两者之间的差距以获取洞察力。从多模态的支持者那里得到启发，它最后提出了一个论点，即像对待文字一样认真对待图像，指出这种举措对我们研究媒体的用途和意义的方式的影响，因为它们与先锋青年文化相交。当代时刻。