La prensa gráfica en contacto: el abordaje del diario Clarín de la Masacre de Avellaneda
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En este artículo reflexionamos en torno al tratamiento que
el diario Clarín hizo de lo ocurrido en el Puente Pueyrredón
y la Estación Avellaneda el 26 de junio de 2002, suceso
denominado como la “Masacre de Avellaneda”. Analizamos
cómo abordó y construyó el acontecimiento de diferentes
modos en las ediciones de los días transcurridos entre el 27
y el 30 de junio.
Realizamos un análisis textual pero también ahondamos
en otras modalidades de producción de realidad. En efecto,
discutimos el rol que en la construcción del acontecimiento
desempeñaron un conjunto de fotografías que componen
una secuencia denominada “la secuencia de Mateos”
así como también el modo en que otras imágenes dieron
cuerpo a la estrategia enunciativa del diario que osciló,
según sus pretensiones y las circunstancias contextuales,
entre su condición de medio gráfico y su aggionarmiento a
la dinámica de contacto y seducción del discurso televisivo.
Palabras claves: prensa gráfica – pantallas- fotografía -
Clarín – Masacre de Avellaneda.
In this article we reflect about the media coverage that Clarín did of the Massacre of Avellaneda (that is how is kown the event where two activists were murdered by the police at Pueyrredón Bridge and Avellaneda Train Station on June 26 of 2002). We analyze the different ways at which this media tackled and built the event in editions elapsed between the 27 and 30 June inclusive. We do a textual analysis but also delve into others modes of production of reality. Indeed, we discuss the role played by a set of photographs that make up a sequence called “the sequence of Mateos”, as well as how other images flesh out the declarative strategy of the newspaper that ranged, according their claims and contextual circumstances, between its status as graphic medium and its adaptative capability to contact dynamics and seduction of television discourse.
In this article we reflect about the media coverage that Clarín did of the Massacre of Avellaneda (that is how is kown the event where two activists were murdered by the police at Pueyrredón Bridge and Avellaneda Train Station on June 26 of 2002). We analyze the different ways at which this media tackled and built the event in editions elapsed between the 27 and 30 June inclusive. We do a textual analysis but also delve into others modes of production of reality. Indeed, we discuss the role played by a set of photographs that make up a sequence called “the sequence of Mateos”, as well as how other images flesh out the declarative strategy of the newspaper that ranged, according their claims and contextual circumstances, between its status as graphic medium and its adaptative capability to contact dynamics and seduction of television discourse.