The paradigm’s origin in the modern publicitary photography: the Tenedor of André Kertesz or the Cuello Idestyle of Paul Outerbridge

Authors

  • José Manuel Susperregui Universidad del País Vasco

DOI:

https://doi.org/10.5433/1984-7939.2010v6n8p145

Keywords:

Photography, advertising, Kertesz, Outerbridge

Abstract

Due to the ambiguity of the origins of advertising photography and its paradigm this article has been focussed on two anthological images : the Kertesz Fork and Outerbridge’s Idestyle Neck. The analysis of these images and their authors has enabled us to conclude that Outerbridge’s photography the Idestyle Neck is more paradigmatic as it conveys sufficient and necessary information to enable the receiver to perfectly identify the product being advertised, surpassing the Kertesz Fork at this information level.

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Author Biography

José Manuel Susperregui, Universidad del País Vasco

Profesor Titular del Departamento de Comunicación Audiovisual y Publicidad de la Universidad del País Vasco – Euskal Herriko Unibertsitatea, España. Recientemente ha publicado el libro Sombras de la fotografía que demuestra la artificiosidad de la fotografía Muerte de un miliciano de Robert Capa, así como otros iconos fotográficos relacionados con el siglo XX español.

 

Published

2010-12-15

How to Cite

Susperregui, J. M. (2010). The paradigm’s origin in the modern publicitary photography: the Tenedor of André Kertesz or the Cuello Idestyle of Paul Outerbridge. Discursos Fotograficos, 6(8), 145–167. https://doi.org/10.5433/1984-7939.2010v6n8p145

Issue

Section

Artigos