<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-1284</journal-id>
<journal-title><![CDATA[Vista. Revista de Cultura Visual]]></journal-title>
<abbrev-journal-title><![CDATA[Vista]]></abbrev-journal-title>
<issn>2184-1284</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos de Comunicação e Sociedade]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-12842025000202002</article-id>
<article-id pub-id-type="doi">10.21814/vista.6520</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[Fotografia Como Resistência: Entre Aprisionamento e Liberdade em Kiana Hayeri]]></article-title>
<article-title xml:lang="en"><![CDATA[Photography as Resistance: Between Imprisonment and Freedom in Kiana Hayeri]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Cavassani]]></surname>
<given-names><![CDATA[Maria Fernanda]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Santos]]></surname>
<given-names><![CDATA[Jesner Esequiel]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Presbiteriana Mackenzie Centro de Educação, Filosofia e Teologia ]]></institution>
<addr-line><![CDATA[São Paulo ]]></addr-line>
<country>Brasil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>07</month>
<year>2025</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>07</month>
<year>2025</year>
</pub-date>
<numero>16</numero>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-12842025000202002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-12842025000202002&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-12842025000202002&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo Este artigo realiza uma análise crítica de seis fotografias da artista iranianacanadense Kiana Hayeri, cuja produção documental se concentra na representação de mulheres em contextos de vulnerabilidade sociopolítica no Afeganistão. Com foco analítico aprofundado em duas fotografias: uma retrata mulheres em situação de encarceramento, enquanto a outra mostra um grupo de mulheres enfileiradas para receber auxílio humanitário durante a pandemia de COVID-19. A partir da análise das composições visuais - incluindo enquadramento, expressão corporal, gestualidade, cenário e contexto -, bem como da contextualização dos cenários sociais, políticos e religiosos em que as imagens foram produzidas, a pesquisa propõe uma reflexão sobre as camadas simbólicas e subjetivas presentes nas fotografias. O referencial teórico fundamenta-se nos estudos de Walter Benjamin (1994), que discute a função da fotografia, e de Jean Baudrillard (1981/1991), que propõe a noção de &#8220;simulacro&#8221; e discute os limites entre representação e realidade. A partir dessas perspectivas, observa-se uma inversão paradoxal entre liberdade e aprisionamento: as mulheres encarceradas aparentam experimentar certa sensação de alívio ao se encontrarem afastadas das pressões sociais externas, enquanto as mulheres fora da prisão, embora formalmente livres, demonstram sinais de opressão e controle, derivados de estruturas sociopolíticas e religiosas que moldam suas existências. O estudo evidencia, assim, uma dicotomia nas experiências de liberdade e aprisionamento, problematizando os modos como a imagem fotográfica participa da construção de sentidos e da reprodução de normas culturais. Por meio da fotografia documental, Hayeri revela não apenas as condições materiais de vida dessas mulheres, mas também aspectos simbólicos e afetivos que desafiam as narrativas tradicionais sobre gênero e liberdade. O artigo conclui destacando o papel crítico da imagem como meio de resistência e ferramenta de interpretação das relações de poder que atravessam o cotidiano feminino em contextos marcados por desigualdades estruturais.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract This article presents a critical analysis of six photographs by the Iranian-Canadian artist Kiana Hayeri, whose documentary work focuses on the representation of women in contexts of sociopolitical vulnerability in Afghanistan. Particular analytical attention is given to two of these: one portrays women in conditions of incarceration, while the other depicts a group of women lined up to receive humanitarian aid during the COVID-19 pandemic. Through an examination of the visual compositions - including framing, body expression, gestures, setting, and context - as well as a consideration of the social, political, and religious environments in which the images were produced, the study proposes a reflection on the symbolic and subjective layers embedded in the photographs. The theoretical framework draws on the studies of Walter Benjamin (1994), who discusses the function of photography, and Jean Baudrillard (1981/1991), who introduces the notion of &#8220;simulacrum&#8221; and explores the boundaries between representation and reality. From these perspectives, a paradoxical inversion between freedom and imprisonment is observed: the incarcerated women appear to experience a certain sense of relief by being distanced from external social pressures, whereas the women outside prison, although formally free, exhibit signs of oppression and control, arising from sociopolitical and religious structures that shape their lives. The study thus highlights a dichotomy in the experiences of freedom and imprisonment, questioning how the photographic image contributes to the construction of meaning and the reproduction of cultural norms. Through documentary photography, Hayeri reveals not only the material living conditions of these women but also symbolic and affective dimensions that challenge traditional narratives about gender and freedom. The article concludes by underscoring the critical role of the image as a means of resistance and a tool for interpreting power relations that permeate women&#8217;s everyday lives in contexts marked by structural inequalities.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[Kiana Hayeri]]></kwd>
<kwd lng="pt"><![CDATA[fotografia]]></kwd>
<kwd lng="pt"><![CDATA[narrativas]]></kwd>
<kwd lng="pt"><![CDATA[relações de poder]]></kwd>
<kwd lng="en"><![CDATA[Kiana Hayeri]]></kwd>
<kwd lng="en"><![CDATA[photography]]></kwd>
<kwd lng="en"><![CDATA[narratives]]></kwd>
<kwd lng="en"><![CDATA[power relations]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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