||A impermanência no olhar do fotógrafo-imigrante Haruo Ohara (1909–1999)
The impermanence in the gaze of photographer-immigrant Haruo Ohara (1909－1999)
Akiti Dezem, Rogério ,
André, Richard Gonçalvesアキチ デゼン, ロジェリオ
203 , 2018-03-31 , 大阪大学大学院言語文化研究科 , Graduate School of Language and Culture Osaka University , オオサカ ダイガク ダイガクイン ゲンゴ ブンカ ケンキュウカ
This article intends to outline the career path of the Japanese immigrant Haruo Ohara (1909－1999) in Brazilian land and discuss the representation of the physical space of the Northern Parana State from Ohara’s Japanese point of view as an immigrant-photographer. As methodology, we use some photographs of Ohara available in Moreira Salles Institute as sources, understanding photographic images as a result of a cut on space and time, as proposed by Philippe Dubois. Our discussion suggests that Ohara’s view use elements of Japanese aesthetics (wabi sabi, ma and yohaku), defining the Japaneseness in some images produced by the immigrant-photographer.