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Abstract Anton Corbijn’s work explores the universe of image -photography, videoclip, cinema- by means of an aesthetics satured with spectral chiaroscuros. Joy Division, Depeche Mode, Nick Cave o Tom Waits are some of the bands and composers whose image has been captured by Corbijn’s lens. This last could be defined by its spectral nature -inherited from the first photographic images and explored today by artists as Bill Brandt, Miron Zownir or Frank Machalowski-. Throughout these pages we propose to link the semanthics of his photographic imaginary with the concept of spectral and, specifically, with the notion of hauntology, as it is exposed by Mark Fisher in Ghosts of my life. We carry out this itinerary by means of a dialogue articulated between the aesthetic expression of Anton Corbijn and Joy Division’s one, based on the photo that Corbijn took of the members of band at Lancaster Gate Station, London, 1979. Downloads Download data is not yet available. Metrics Metrics Loading ... References Barthes, R. (1990). La cámara lúcida. Nota sobre la fotografía. Paidós.

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