The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this article, Luis Cardoza y Aragón identifies the cinematographer Agustín Jiménez as one of the best photographers in Mexico, placing him in the company of Manuel Álvarez Bravo and Emilio Amero. The critic explains the differences between the three photographers, referring to Álvarez Bravo’s technical perfection and Amero’s refined intellectual taste (albeit with inferior technical skill), and acknowledging Jiménez because of his similarity to Álvarez Bravo, though he took a different approach in his work.
This article refers to the skillful work that Agustín Jiménez produced for the movies, and mentions his contributions to this new art form. Mexico-based Guatemalan writer Luis Cardoza y Aragón (1901-92) interviews Jiménez, and shares the latter’s opinions about Mexican movies, directors, actors and actresses, and the cinematic and photographic work being done at that time. The article explains that Jiménez quit being a still photographer to follow his life-long passion for the moving image, devoting himself tirelessly to his new field and demonstrating his talent as he worked with several directors on Mexican movies. Cardoza y Aragón identifies Manuel Álvarez Bravo (1902-2002) as one of the major Mexican photographers, and he also recognizes Emilio Amero (1901-76), the visual artist who produced experimental photographic works that featured unprecedented images created in the dark room. These photographic experiments contributed a radical twist to the visual art of the period.