Relevant bibliographies by topics / Family photographs

Academic literature on the topic 'Family photographs'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Family photographs"

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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (December 14, 2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.

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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
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Bresnahan, Krystal, and Alyse Keller. "Performing Family Photographs." Departures in Critical Qualitative Research 5, no. 2 (2016): 30–46. http://dx.doi.org/10.1525/dcqr.2016.5.2.30.

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Historically, scholars have treated photography and performance as separate aesthetic entities. However, the authors show how combining a performance-based analysis with photo elicitation can generate new possibilities for remembering family experiences of divorce and illness. They purposefully frame photographs as performances, questioning how they are used in photo elicitation and how meanings are made through the embodied acts of the researchers. They use family photographs in their interviews to create a dialogical performance, bringing self and other together to question, explore, and challenge one another's experiences and understandings.
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Heroldová, Helena, and Jiřina Todorovová. "A Family Portrait: Enrique Stanko Vráz and the Qing Aristocracy During the Boxer Rebellion." Annals of the Náprstek Museum 39, no. 1 (2018): 51–74. http://dx.doi.org/10.1515/anpm-2018-0005.

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The Czech traveller and photographer Enrique Stanko Vráz (1860–1932) spent three spring months in China during the Boxer Uprising in 1901. He was amongst the first travellers – photo-reporters. He preferred realistic photographs as the best proof of capturing the world around him. In Beijing, he took several hundred photographs including the Manchu aristocratic families. Among them, he photographed Prince Su (1866–1922), an important late Qing statesman, and his family. The study discusses Prince Su’s family photographs in relations to Vráz’s notes and travel books.
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Lassetter, Jane H., Barbara L. Mandleco, and Susanne Olsen Roper. "Family Photographs." Qualitative Health Research 17, no. 4 (April 2007): 456–67. http://dx.doi.org/10.1177/1049732306298804.

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Sheikh-Miller, Nasira. "Muslim Cultures beyond the Aperture: An East African Photo-Story Illuminated by First-Hand Accounts." Journal of Material Cultures in the Muslim World 1, no. 1-2 (February 9, 2021): 150–90. http://dx.doi.org/10.1163/26666286-12340006.

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Abstract This paper is an exploration of Indian Muslim culture in East Africa through pre- and post-independence eras via the medium of photography. It examines the art and craft of photographic practice, the training of photographers, their social networks and those of their patrons, as well as the personal context of photographs. It also discusses the dispersal of archives and personal collections. It is based upon first-hand accounts from professional photographers, their family members as well as patrons, whose ancestors travelled from India via Indian Ocean trade routes. Fareh te chareh is a Gujarati proverb meaning ‘A person who roams advances.’
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Jarmołowicz-Dziekońska, Małgorzata. "Exilic representation and the (dis)embodied self: memory and photography in Yoshiko Uchida’s , autobiography Desert Exile: The Uprooting of a Japanese-American Family." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 31 (2019): 148–71. http://dx.doi.org/10.15290/idea.2019.31.09.

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Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification.
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Anahita, Sine. "Postmortem Identity Work in Territorial-colonialist Alaska." Humanity & Society 43, no. 2 (July 10, 2018): 179–203. http://dx.doi.org/10.1177/0160597618787848.

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Erving Goffman’s dramaturgical ideas about impression management are applied to analyze four historical photographs of deceased children. The photographs are archived at the Alaska State Library and were taken during Alaska’s territorial-colonialist era. This article explains how living photographic subjects, who are often unseen but are symbolized through items visible in the photograph, work with viewers to co-construct social identities of themselves and of the dead children in the photographs. I propose that participants—the seen and unseen subjects, the photographer, and the receiving audience—engage in what Goffman calls frontstage and backstage work to co-construct social identities for the dead children and for the living survivors and to manage the impressions given by the visual images. Further, I propose that the social identities portrayed in the photographs were shaped by social forces and symbol systems external to the persons and settings visible in the images. This article demonstrates that the social systems of family, religion, ethnicity, and gender are especially powerful in co-constructing the symbolic social identities of the participants in the photographs under study. Other issues considered are the social systems of racism, ethnocentrism, and assimilationist policies that targeted Native and immigrant peoples.
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Wyatt, Kirk D., Anissa Finley, Richard Uribe, Peter Pallagi, Brian Willaert, Steve Ommen, James Yiannias, and Thomas Hellmich. "Patients' Experiences and Attitudes of Using a Secure Mobile Phone App for Medical Photography: Qualitative Survey Study." Journal of Medical Internet Research 22, no. 5 (May 12, 2020): e14412. http://dx.doi.org/10.2196/14412.

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Background Point-of-care clinical photography using mobile devices is coming of age as a new standard of care for clinical documentation. High-quality cameras in modern smartphones facilitate faithful reproduction of clinical findings in photographs; however, clinical photographs captured on mobile devices are often taken using the native camera app on the device and transmitted using relatively insecure methods (eg, SMS text message and email) that do not preserve images as part of the electronic medical records. Native camera apps lack robust security features and direct integration with electronic health records (EHRs), which may limit patient acceptability and usefulness to clinicians. In March 2015, Mayo Clinic overcame these barriers by launching an internally developed mobile app that allows health care providers to securely capture clinical photographs and upload them to the EHR in a manner that is compliant with patient privacy and confidentiality regulations. Objective The study aimed to understand the perceptions, attitudes, and experiences of patients who were photographed using a mobile point-of-care clinical image capture app. Methods The study included a mail-out survey sent to 292 patients in Rochester, Minnesota, who were photographed using a mobile point-of-care clinical image capture app within a preceding 2-week period. Results The surveys were completed by 71 patients who recalled being photographed. Patients were seen in 18 different departments, with the most common departments being dermatology (19/71, 27%), vascular medicine (17/71, 24%), and family medicine (10/71, 14%). Most patients (49/62, 79%) reported that photographs were taken to simply document the appearance of a clinical finding for future reference. Only 16% (10/62) of patients said the photographs were used to obtain advice from a specialist. Furthermore, 74% (51/69) of the patients said they would recommend medical photography to others and 67% (46/69) of them thought the photos favorably affected their care. Patients were largely indifferent about the device used for photography (mobile device vs professional camera; 40/69, 58%) or the identity of the photographer (provider vs professional photographer; 52/69, 75%). In addition, 90% (64/71) of patients found reuse of photographs for one-on-one learner education to be acceptable. Acceptability for other uses declined as the size of the audience increased, with only 42% (30/71) of patients deeming reuse on social media for medical education as appropriate. Only 3% (2/71) of patients expressed privacy or confidentiality concerns. Furthermore, 52% (33/63) of patients preferred to provide consent verbally, and 21% (13/63) of them did not think a specific consent process was necessary. Conclusions Patient attitudes regarding medical photography using a secure EHR-integrated app were favorable. Patients perceived that photography improved their care despite the most common reason for photography being to simply document the appearance of a clinical finding for future reference. Whenever possible, health care providers should utilize secure EHR-integrated apps for point-of-care medical photography using mobile devices.
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Mandleco, Barbara, Jessica Rosemann, Aimee Palicharla, Tammy Rampton, Tina Dyches, and Donna Freeborn. "Sibling Snapshots: Living with Youth who have Autism or Down syndrome." International Journal of Integrative Pediatrics and Environmental Medicine 2 (August 12, 2015): 13–30. http://dx.doi.org/10.36013/ijipem.v2i0.17.

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This study used photography to capture important symbols in the lives of 14 siblings of 13 youth with autism (ASD) and 16 siblings of 15 youth with Down syndrome (DS) and then determine if there were differences in the photographs taken according to the type of developmental disability, age, and gender of the sibling. Analysis revealed two types of photographs: people, including family members and non-family, and non-people, including objects, animals, and buildings/scenery. Siblings of youth with DS took a higher percentage of photographs of people and a higher percentage of photographs of family members than siblings of youth with ASD. There were also differences according to age and gender in the people/non people and within family photographs. The 7-9 year olds took a higher percentage of snapshots of typically developing siblings and him/herself whereas the 10- 12 year olds and the 13-16 year olds took a higher percentage of photographs of the youth with the disability than the younger age group. Sisters took a higher proportion of people photographs than brothers; whereas brothers took a higher proportion of family photographs than sisters. Indeed, results validate the importance of gathering data in an open-ended manner directly from young people, confirm the use of photography as a method of facilitating communication with young people about important symbols in their lives, and indicate there are differences in the percentage of photographs taken of people/non people and family/non family according to disability, age and gender of siblings.
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Dissertations / Theses on the topic "Family photographs"

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Blomgren, Constance, and University of Lethbridge Faculty of Education. "Family photos : an exploration of significant exposures." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999, 1999. http://hdl.handle.net/10133/93.

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This hermeneutic inquiry into the significance of family photographs in our personal and public lives explores the relationship between the subject, the photographer and the viewer. The discussion uses the photgraphic oeuvres of the author's paternal grandfather and maternal grandmother as the basis of the exploration. Themes which appear include the following: the represented and projected images of a family within family photos; the significance of gender in the making of snapshots; and, the influence of history and religion upon families. The discussion also includes the relationship between art and photography, art photography and the snapshot genre, the role of women within photography and snapshot photography as a method of visual narrative. The author delves into hermeneutics as an interpretative framework when viewing family photos. Semiotics, and Roland Barthes' Camera Lucida (1981) inform the discussion in addition to Jung's matriarchal consciousness as two alternative frameworks for interpreting family photographs. The study indicates that family photographs are visual artifacts which document and authenticate the lived experiences of the photographer and that they serve as a visual form of life writing. Data from the photographic industry indicates the heavy involvment of women in family photographs which the study links to the marginalised role of the genre. To interpret the significance of the ubiquitous family snapshot involves the hermeneutic circle as the "text" of the photograph involves the inter-textuality of other previously encountered texts.
xvii, 199 leaves : ill. ; 28 cm.
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Darnell, Amy Lynn. "Pencils of Light: Family, Photography, and Performance." Available to subscribers only, 2009. http://proquest.umi.com/pqdweb?did=1791777591&sid=2&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Thesis (Ph. D.)--Southern Illinois University Carbondale, 2009.
"Department of Speech Communication." Keywords: Auto-performance, Cinema, Memory, Performance studies, Photographs, Photography, Family. Includes bibliographical references (p. 148-153). Also available online.
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Davies, Mark Philip. "Moving Images : The Practices and Politics of Displaying Family Photographs." Thesis, Keele University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522673.

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Sile, Agnese. "The space of love in photographic essays of illness narratives." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=231012.

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Mates, Andrea W. "What talking about them reveals about us the organization of person reference in conversations about family photographs /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930285341&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Rehman, Sadia. "This is My Family: An Erasure." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492399220029598.

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Fromm, Karen. "Das Bild als Zeuge." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/16968.

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Obwohl das dokumentarische Bild als beglaubigte Aufzeichnung einer außermedialen Realität als Diskursgegenstand bereits seit Längerem dekonstruiert ist, scheint die Faszination am Dokumentarischen nahezu ungebrochen. Die stete Bezugnahme auf das Dokumentarische in unterschiedlichen Diskursen der Fotografie zeugt davon. Auch zahlreiche künstlerische Auseinandersetzungen rekurrieren seit den 80er-Jahren verstärkt auf dokumentarische Konzepte und Formate. Ausgehend von diesem Paradoxon, der Dekonstruktion des Dokumentarischen in Theoriekontexten und dem Wiedererstarken dokumentarischer Formate in der Fotografie und Kunst, sucht die vorliegende Arbeit nach den Ursachen einer offenkundig anhaltenden Faszination am Dokumentarischen. Dabei richtet sie den Blick speziell auf künstlerische Fotografien, die Gebrauchsweisen der Fotografie aufgreifen, welche per se mit dem Dokumentarischen affiziert werden, wie die Pressefotografie, die kriminalistische Fotografie und die Amateurfotografie. Sie zeigt, über welche Strategien das Dokumentarische dort produktiv umgesetzt wird. Lässt sich jeder Dokumentarismus erst einmal als Versuch lesen, in der Repräsentation das Reale zu verbildlichen, beziehen sich die vorgestellten künstlerischen Arbeiten von Jeff Wall, Thomas Demand, Sophie Calle und Richard Billingham zwar auf ein Begehren nach dem Realen, machen aber gleichzeitig den Verlust des Realen in ihren Erzählungen von der Wirklichkeit erfahrbar. In ihrer Ambivalenz vermitteln die künstlerischen Arbeiten ein Konzept des Dokumentarischen als mobiles System, das dieses nicht als Kategorie, Genre oder Stil festschreibt, sondern als Handlung begreift, die das permanente Ineinandergreifen von Konstruktion und Dekonstruktion des Dokumentarischen nachvollzieht. Insofern erweisen sich die Kunst und das Dokumentarische als nicht polar, denn über ihre Beziehung zum Realen kristallisiert sich dieses als das gemeinsame Dritte der beiden heraus.
Although the documentary image as authenticated record of a reality beyond the media has, as the object of discourse, long been deconstructed, the fascination with the documentary would appear to be ongoing. The constant references to the documentary in a variety of photography discourses bears witness to this. In addition, countless artistic treatments since the Eighties have referred back to documentary concepts and formats. In the light of this paradox as well as the deconstruction of the documentary in theoretical contexts and the renewed gaining of strength of documentary formats in photography and art, this study investigates the reasons for the evident persistent fascination with the documentary. In the process, artistic photographs in particular are examined which reference conventions in photography that are associated per se with the documentary, such as for example press photography, criminalistic photography, and amateur photography. The strategies by which the documentary is productively implemented are demonstrated here. If every form of documentarism can be read first of all as an attempt to express the real visually in the representation, then the artistic works by Jeff Wall, Thomas Demand, Sophie Calle and Richard Billingham that are presented here may indeed reference a desire for the real, but at the same time they make it possible in their telling of reality to experience the loss of the real. It is through their ambivalence that the artistic works convey a concept of the documentary as a mobile system that does not codify it as a category, genre or style, but rather perceives it as an act that comprehends the documentary''s constant intertwining of construction and deconstruction. As such, it is shown that art and the documentary are not polar, because through their relationship to reality this relationship is shown to crystalize out as the common third party for both.
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Polansky, Tara R. "Erasures and Inventions: Re-Forming our Memories." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1309355214.

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Korver, Ruth M. "In memory of cats : the camera and the ordinary moment : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/956.

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In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.
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Humayun, Saalem. "Constructing family photograph albums : how the process of archival acquisition writes history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99722.

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This thesis is about photographic archives. Specifically, it concerns the process of acquisition for family photograph albums as archival texts. It argues that the process of acquisition writes history, and not one sole author. Additionally it argues that the institutional policy of an archive governs this process. Further, it argues that there is a homology between a public and private archive. In this light, it pursues an autobiographical approach, and compares the author's family photograph album with a family photograph album in the McCord Museum of Canadian History.
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Books on the topic "Family photographs"

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Geras, Adèle. The Fantora family photographs. London: Hamish Hamilton, 1993.

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1938-, Ross Tony, ed. The Fantora family photographs. London: Puffin, 1995.

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Family photographs, 1860-1945. Richmond, Surrey: Public Record Office, 2002.

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Shrimpton, Jayne. Family photographs & how to date them. Newbury, Berkshire: Countryside Books, 2008.

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Shrimpton, Jayne. Family photographs & how to date them. Newbury, Berkshire: Countryside Books, 2008.

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Shrimpton, Jayne. Family photographs & how to date them. Newbury, Berkshire: Countryside Books, 2008.

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1947-, Gurganus Allan, and Rose Charlie, eds. A family named spot: Photographs. New York: Five Ties Publishing, 2006.

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Schulz, Carolyn. Creating family memories. Newton Abbot, Devon: David & Charles, 1998.

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Elton, Richard. My family album. Layton, Utah: Gibbs Smith, 2003.

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Taylor, Maureen Alice. Your family story in photographs: Capturing memories. Provo, Utah: Ancestry Pub., 2007.

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Book chapters on the topic "Family photographs"

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Pitt, Penelope. "Family Photographs in Displacement." In The Handbook of Displacement, 599–611. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47178-1_41.

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Roberts, Elisabeth. "Family Photographs: Memories, Narratives, Place." In Geography and Memory, 91–108. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137284075_6.

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Gomila, Antònia. "Family Photographs: Putting Families on Display." In Families and Kinship in Contemporary Europe, 63–77. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307452_5.

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Thompson, Moris. "Family Photographs as Traces of Americanization." In Oral History and Photography, 149–68. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120099_9.

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Bainbridge, William Sims. "Documenting and Digitally Presenting Family Photographs." In Human–Computer Interaction Series, 31–65. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01063-8_2.

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Thomson, Alistair. "Family Photographs and Migrant Memories: Representing Women’s Lives." In Oral History and Photography, 169–85. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120099_10.

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Bytheway, Bill, and Joanna Bornat. "The Oldest Generation As Displayed in Family Photographs." In Representing Ageing, 169–88. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137009340_11.

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Wilton, Janis. "Imaging Family Memories: My Mum, Her Photographs, Our Memories." In Oral History and Photography, 61–76. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120099_4.

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Parrott, Fiona R. "Bringing Home the Dead: Photographs, Family Imaginaries and Moral Remains." In An Anthropology of Absence, 131–46. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-5529-6_8.

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Miller, Kyle. "Do You See What I See? Family-Produced Photographs and the Transition to School." In Participant Empowerment Through Photo-elicitation in Ethnographic Education Research, 139–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64413-4_7.

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Conference papers on the topic "Family photographs"

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Calisi, Daniele. "PHOTOGRAMMETRIC SURVEY AND 3D MODELING OF THE FUNERARY URN DEPICTING THE MYTH OF OENOMAUS, FOUND INSIDE THE TOMB OF THE ETRUSCAN FAMILY OF CACNI IN PERUGIA (III-I CENTURY BC)." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3318.

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The urn, recovered in 2013 by the Cultural Heritage's Police Command along with other 21 and with the funeral set of the tomb of the Cacni family at Perugia, was exhibited at the Quirinale and then moved to Perugia, at the National Archaeological Museum of Umbria. 2014. After a first attempt to survey the laser scanner, the survey, aimed at the graphic documentation and implementation of a virtual model for the study and dissemination, has been performed with photographic processed with software modeling structure from motion.3D model in mesh made with the appropriate software has been cleaned of all its impurities: holes, tips, noise and rough surfaces. To conclude the process, the mapping from photography, with high resolution textures, giving the mesh the appearance next to the real funerary urn. The survey work on the urn of Oenomaus is a case in point, both for research of best practices in the surveys of archaeological objects, both in the ultimate goal of the relief: not only cataloging and knowledge, but also of divulging to a wider public.
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.
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Delplancq, Véronique, Ana Maria Costa, Cristina Amaro Costa, Emília Coutinho, Isabel Oliveira, José Pereira, Patricia Lopez Garcia, et al. "STORYTELLING AND DIGITAL ART AS A MEANS TO IMPROVE MULTILINGUAL SKILLS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end073.

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The use of storytelling and digital art as tools to understand a migrant family’s life path will be in the center of an innovative methodology that will ensure the acquisition of multilingual skills and the development of plurilingual awareness, reinforcing the various dimensions of language (aesthetic and emotional, in addition to cognitive), in a creative, collaborative and interdisciplinary work environment. This is especially important among students who are not likely to receive further language training. It is not yet clear how teachers can explore multilingual experiences of learners, both in terms of language learning dimensions but also related with the multiple cognitive connections and representations, as well as to the awareness of language diversity. The JASM (Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior) project involves a group of students of the 1st cycle in Media Studies, from the School of Education of Viseu, who will work using photography, digital art and cultural communication, collecting information pertaining to diversified cultural and linguistic contexts of the city of Viseu (Beira Alta, Portugal), both in French and English, centered on a tradition or ritual of a migrant family. Based on an interview, students write the story (in French and English) of the life of migrants and use photography to highlight the most relevant aspect of the migrant’s family life. Using as a starting point an object associated with religion, tradition or a ritual, students create an animated film, in both languages. This approach will allow the exploration of culture and digital scenography, integrating in an innovative interdisciplinary pathway, digital art, multilingual skills and multicultural awareness. Students’ learning progress and teacher roles are assessed during this process, using tests from the beginning to the end of the project.
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Reports on the topic "Family photographs"

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Visa Barbosa, M., T. Serés Seuma, and J. Soto Merola. From the family portrait to the profile picture. Uses of photography in the Facebook social network. Revista Latina de Comunicación Social, April 2018. http://dx.doi.org/10.4185/rlcs-2018-1278en.

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