Dissertationen zum Thema „History of the British photography“
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Belknap, Geoffrey David. „'From a photograph' : photography and the periodical print press 1870-1890“. Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609850.
Der volle Inhalt der QuelleDowns, J. „Ministers of 'the Black Art' : the engagement of British clergy with photography, 1839-1914“. Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35917.
Der volle Inhalt der QuelleHatfield, Philip John. „Colonial copyright and the photographic image : Canada in the frame“. Thesis, Royal Holloway, University of London, 2011. http://repository.royalholloway.ac.uk/items/bd29e8fa-4880-f95d-24ea-53198345eb7f/8/.
Der volle Inhalt der QuelleTomas, David. „An ethnography of the eye : authority, observation and photography in the context of British anthropology 1839-1900“. Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75671.
Der volle Inhalt der QuelleAtkinson, Elizabeth Susan. „The formative years : the evolution of photography's role in British periodical advertising during the 1920's and 1930's“. Thesis, Royal College of Art, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295775.
Der volle Inhalt der QuelleWorman, Sarah E. Ms. „"Mirror With a Memory": Photography as Metaphor and Material Object in Victorian Culture“. Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149151628521588.
Der volle Inhalt der QuelleDahmani, Taous Rose. „Faire scène : stratégies d'émergence et d'institutionnalisation des photographes noirs britanniques dans la longue décennie 80“. Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H082.
Der volle Inhalt der QuelleDuring the long 1980s, non-white photographers and Black women photographers imagined forms of opposition to a milieu that consistently ignored them. Individually and collectively, Black photographers challenged continual denial with gestures of resistance. Together, and on their own they made their scene. Instigators of a multitude of acts, they became the agents of their being recognised as artist-photographers. The scene produced an empowerment which in turn shaped that scene. This thesis recounts the strategies they put in place to challenge the status quo. The creation of this scene occurred through two fundamental axes: firstly publications; and secondly exhibitions. In the first place, the study of printed matter reveals the mechanisms of exclusion and inclusion of these individuals, and indicates their essential role in encounters, exchanges, experimentation, debate, theoretical elaboration and the display of visual productions. To this end, we examine three photographers' magazines: Camerawork, Ten.8 and Polareyes; and comment on the absence of photographers' books. In the second place, our study of the need to show work on walls, through exhibitions, enables us to identify a "Do It-Yourself" attitude in which artists become curators and coordinators of spaces. The thesis concludes on the institutionalization of the scene through the history of the Association of Black Photographers as an organization. Our pivot is the emergence of a scene despite a society opposed to it, and tells the story of its slow inclusion in the world of British photography in the second half of the 20th century
Brinsford, Julian. „Citizens of the secret machine : elements towards a Bakhtinian history of photographic representations of the British working classes in the twentieth century“. Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360577.
Der volle Inhalt der QuelleHacking, Juliet Louise. „Photography personified : art and identity in British photography 1857-1869“. Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.
Der volle Inhalt der QuelleRough, William W. „Walter Richard Sickert and the theatre c.1880-c.1940“. Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
Der volle Inhalt der QuelleRyan, James. „Photography, geography and Empire, 1840-1914“. Thesis, Royal Holloway, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262032.
Der volle Inhalt der QuelleKershen, Anne. „British Jewish history within the framework of British history 1840-1995“. Thesis, Middlesex University, 1997. http://eprints.mdx.ac.uk/11157/.
Der volle Inhalt der QuelleParry, Katy Jane. „Visually framing the 2003 Iraq invasion in British press photography“. Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526844.
Der volle Inhalt der QuelleKingsley, Hope. „Crosscurrents of aesthetics and technology in nineteenth century British photography“. Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398428.
Der volle Inhalt der QuelleHauser, Kitty. „Shadow sites : photography, archaeology, and the British landscape 1927-1955 /“. Oxford ; New york : Oxford university press, 2007. http://catalogue.bnf.fr/ark:/12148/cb411636232.
Der volle Inhalt der QuelleBaird, Jaime. „Looking at Ethiopia history, photography, and power /“. [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011902.
Der volle Inhalt der QuelleLai, Kin-keung Edwin, und 黎健強. „Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.
Der volle Inhalt der QuelleEnnis, Emily Siobhan Behan. „Capturing the image : writing and photography in British literary culture, 1880-1920“. Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16176/.
Der volle Inhalt der QuelleDelmas, Didier. „Why 1839? : the philosophy of vision and the invention of photography“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83176.
Der volle Inhalt der QuelleThis thesis explores two fundamental questions: Why wasn't photography invented soon after its major technological components were discovered c. 1650? And why was it invented in the early decades of the nineteenth century c. 1830? This gap of some 200 years separating the feasibility of photography from its actualization has remained largely unexplained.
The answers to both questions is found by situating the genealogy of the invention of photography within the development of the Western philosophy of vision. The fact that photography was invented at the junction of the Classical and Modern epistemes offers a unique opportunity to approach the history of photography from the perspective of the history of thought. Hence this thesis takes its inspiration from the work of Michel Foucault and some of his followers---in particular Jonathan Crary and Geoffrey Batchen. The result of this radical shift from the technical to the intellectual environment allows the history of photography to transcend the narrow confines of technology and formal appearances. From a Foucauldian perspective I argue that photography was invented as a response to the epistemic instability experienced during the transition from the Enlightenment to Modernity.
Dolce, Mark A. „History and Ethics of Electronic Manipulation in News Photography“. Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/292188.
Der volle Inhalt der QuelleRadtke, Robert Warren. „The British commercial community in Shanghai and British policy in China, 1925-1931“. Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315945.
Der volle Inhalt der QuelleMcCue, Maureen Clare. „British Romanticism and Italian Renaissance art“. Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
Der volle Inhalt der QuelleLeister, Wiebke. „Unjoyful laughter and the non-likeness of photographic portraiture“. Thesis, Royal College of Art, 2006. http://ualresearchonline.arts.ac.uk/13247/.
Der volle Inhalt der QuelleAdams, James Mack. „Tybee Island“. Digital Commons @ East Tennessee State University, 2000. https://www.amzn.com/B01NANDHB1/.
Der volle Inhalt der Quellehttps://dc.etsu.edu/alumni_books/1029/thumbnail.jpg
Brothers, Caroline Ann. „French and British press photography of the Spanish Civil War : ideology, iconography, mentalité“. Thesis, University College London (University of London), 1991. http://discovery.ucl.ac.uk/1382596/.
Der volle Inhalt der QuelleSmith, Olga. „Between reality and fiction : the art of French photography since the 1970s“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
Der volle Inhalt der QuelleChang, Ning Jeniffer. „Sino-British relations during 1910-30 : a case study of British business in Hankow“. Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/251913.
Der volle Inhalt der QuelleWang, Han-Chih. „The Profane and Profound: American Road Photography from 1930 to the Present“. Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.
Der volle Inhalt der QuellePh.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses
Acar, Sibel. „Intersections:architecture And Photography In Victorian Britain“. Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.
Der volle Inhalt der Quellethe second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.
Hammond, Mary Sayer. „The camera obscura : a chapter in the pre-history of photography /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314364.
Der volle Inhalt der QuelleFair, Alistair James. „British theatres, 1926-1991 : an architectural history“. Thesis, University of Cambridge, 2008. https://www.repository.cam.ac.uk/handle/1810/252094.
Der volle Inhalt der QuelleBekar, Clifford Thomas. „Two productivity puzzles in British economic history“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0027/NQ51841.pdf.
Der volle Inhalt der QuelleKay, William Kilbourne. „A history of British Assemblies of God“. Thesis, University of Nottingham, 1989. http://eprints.nottingham.ac.uk/13082/.
Der volle Inhalt der QuelleBlake, L. J. „An oral history of British food activism“. Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/21655/.
Der volle Inhalt der QuelleWillis, Anne-Marie. „Writing photographic history in Australia : towards a critical account“. Thesis, The University of Sydney, 1986. https://hdl.handle.net/2123/28611.
Der volle Inhalt der QuelleSwensen, James R. „The Rephotographic Survey Project (19770-1979) and the Landscape of Photography“. Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194916.
Der volle Inhalt der QuelleNapier, Ellen Bethany. „Thomas Struth's Museum Photographs and the Textual Experience of Photography“. The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.
Der volle Inhalt der QuelleMoschovi, Alexandra. „The neglect and accommodation of photography in British art institutions in the postmodern era“. Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411049.
Der volle Inhalt der QuelleBirkhofer, Melissa Dee DeGuzmán María. „Voicing a lost history through photography in Hispaniola's diasporic literature“. Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1038.
Der volle Inhalt der QuelleTitle from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
COSTA, AMANDA DANELLI. „IMPRESSIONS ON IMAGES: HISTORY MEMORY AND AUGUSTO MALTA CARIOCA PHOTOGRAPHY“. PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11419@1.
Der volle Inhalt der QuelleCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A presente dissertação busca aproximar memória e fotografia, bem como o ato de fotografar do ato de historiar. A partir daí, se volta para a proposta específica de analisar um grupo de fotografias que Augusto Malta fez das ruas da cidade do Rio de Janeiro no início do século XX. Já no século XIX foi atribuída aos fotógrafos a função de registradores de um mundo que se dissipava e de outro que se anunciava. Esses profissionais eram contratados como os responsáveis por guardarem as imagens que se transformavam rapidamente, especialmente nas cidades. Tratava-se de um desejo de construir um álbum que conservasse a memória do antes, do durante e do depois, e que servisse de registro confiável das mudanças promovidas. Esta é a função que Augusto César Malta de Campos assumiu na prefeitura da cidade-capital, comandada por Francisco Pereira Passos. É através desse caminho que se busca analisar a fotografia como artifício capaz de inventariar as transformações da cidade, uma representação fiel do mundo visível. Assim, as imagens dos Kiosques, dentre outras tantas, se tornaram instrumentos com valor de prova a serviço de um projeto modernizador da cidade-capital, numa íntima relação com a mobilização nacional em torno de uma identidade moderna que se forjava naquele tempo.
This work tries to approximate memory and photography, and at the same time the act of make photography and act of writing history. Then the work persecutes the propose of analyze a group of four photos that Augusto Malta made in the streets of Rio de Janeiro in the beginning of the 20th century. In the 19th century was given to the photographers the function of recorders of a world passing through many changes. Those professionals were hired as the responsibles to keep the images that were changing quickly, especially in the cities. There was a desire to build an album dedicated to the memory of times, and prove of the changes in the world. This was the work that Augusto Malta did for the mayor Pereira Passos. Through this way the photography is analyzed as a faithful representation of the visible world. The Kiosque s images became a prove to the project of modernization of the city, in a relation to the national mobilization around a modern identity.
Cooper, Elena Sophia Christina. „Art, photography, copyright : a history of photographic copyright, 1850-1911“. Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.
Der volle Inhalt der QuelleCrow, Robert. „Reputations made and lost : the writing of histories of early twentieth-century British photography and the case of Walter Benington“. Thesis, University of Gloucestershire, 2016. http://eprints.glos.ac.uk/2996/.
Der volle Inhalt der QuelleZhu, Christine. „Rejecting the front row| Guy Marineau and the evolution of runway photography“. Thesis, Fashion Institute of Technology, SUNY, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1603005.
Der volle Inhalt der QuelleThis paper is a review and discussion of the career of French runway photographer, Guy Marineau. It specifically explores his tenure at Fairchild Publications between the years 1975-1985, contextualized by his personal experience and the history of the fashion show. Prior to shooting the runway, Marineau photographed conflicts in Portugal and Israel. Traumatized by war, Marineau, decided to realign his career towards capturing beauty.
Fashion shows emerged around the turn of the century, and press coverage of them has been long fraught with complications due to the threat of copyists reproducing unlicensed designs. During the mid-1950s John Fairchild tirelessly challenged the strict embargo set by the Chambre Syndicale that restricted the immediate release of images taken at couture shows. Yet by the 1960s, the demise of the haute couture was imminent, and couturiers resorted to licensing to keep their houses afloat, which in turn, reestablished their relationship with the press.
Since his start at Fairchild Publications, Marineau approached runway photography through the eyes of a war photographer. Marineau's work improved vastly as he grasped how to shoot fashion shows and was one of the first to challenge the established protocol by leaving his editor for the end of the runway. His photographs kept pace alongside his continuously evolving subject, the fashion show, and with advancements to camera technology. Relatively unknown, Marineau's work remains an undiscovered wealth of fashion history. His photographs are a testament to the once-diverse genre of runway photography that is slowly being replaced by the standardized runway photographs now linked with fashion websites.
DeÌ, Bikramjit. „British policy in Bengal, 1939-1954“. Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249285.
Der volle Inhalt der QuelleRoeckell, Lelia M. „British interests in Texas 1825-1846“. Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357534.
Der volle Inhalt der QuelleOldcorn, Megan Lowena. „Falmouth and the British Maritime Empire“. Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/13354/.
Der volle Inhalt der QuelleHudson, Giles. „The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer“. Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.
Der volle Inhalt der QuelleWu, Shuang. „British Press Coverage of Nazi Antisemitism, 1933 - 1938“. The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531941751035663.
Der volle Inhalt der QuelleLaurence-Allen, Antonia. „Class, consumption and currency : commercial photography in mid-Victorian Scotland“. Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3469.
Der volle Inhalt der QuelleSaraogi, Avantika. „Art and Dance: Sediments, Segments, and Movement“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.
Der volle Inhalt der Quelle