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.
Full textxvii, 199 leaves : ill. ; 28 cm.
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.
Full text"Department of Speech Communication." Keywords: Auto-performance, Cinema, Memory, Performance studies, Photographs, Photography, Family. Includes bibliographical references (p. 148-153). Also available online.
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.
Full textSile, 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.
Full textMates, 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.
Full textRehman, Sadia. "This is My Family: An Erasure." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492399220029598.
Full textFromm, Karen. "Das Bild als Zeuge." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/16968.
Full textAlthough 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.
Polansky, Tara R. "Erasures and Inventions: Re-Forming our Memories." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1309355214.
Full textKorver, 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.
Full textHumayun, 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.
Full textJusto, Joana Sanches [UNESP]. "Olhares que contam histórias: a fotografia como memórias e narrativas da família." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/97632.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fotografias estão constantemente ao nosso redor: nos jornais, revistas, outdoors, galerias de arte, nos envolvendo também de forma mais íntima através dos álbuns de família. Colecionar imagens de momentos importantes tais como nascimentos, casamentos, aniversários e viagens é costume de quase toda família, mas por que registrar e guardar estas lembranças? A fim de explorar detalhadamente a relação dos membros da família com seus acervos fotográficos, rastreando os sentidos dos álbuns, realizamos uma investigação tendo como participantes duas famílias: Aragão e Silva. Cada família possuía três voluntários que foram entrevistados individualmente, tendo como foco as narrativas instigadas por fotografias previamente selecionadas de momentos importantes para a família. A conduta básica do entrevistador pautou-se por intervenções mínimas, deixando os entrevistados discorrerem sobre as imagens. Como principais resultados observamos que, apesar das diferenças quanto ao relacionamento com o álbum da família, as fotos guardadas permitem a revisitação de experiências, a re-significação de acontecimentos e a criação de narrativas. No contato com interlocutores possibilita-se a produção de sentido de forma que o sujeito se reconhece como parte de uma história construída coletivamente. Dessa forma, o álbum de família é um importante acervo documental iconográfico e patrimônio do grupo familiar. Funciona não somente como arquivo de registros da memória, mas, sobretudo, como imagens disparadoras de afetos, sentimentos e recordações instigadores de narrativas capazes de ampliar a compreensão do passado e do presente.
Photographs are constantly around us in newspapers, magazines, advertizing bill boards, art galleries and specially through the family albums. Collecting pictures of special occasions like births, weddings, birthdays, and trips are a custom of almost any family. Why register and file these souveniers? In order to explore in detail the relation of the family with their photo album and trace the significance of the photo album for the family, a recent study between two families, Aragão and Silva was carried out. This study involved six volunteers, three in each family who were interviewed individually on their personal memories of each pre-selected picture shown of their own family pictures. The behavior of the interviewer was based on minimum interventions, leaving the participants free to discourse about the images. As a result it was observed that regardless of the differences in relationship of the photo album, the pictures allowed the participants to revisit experiences, re-signify events and create vivid memory narratives. The significance of recollective memory is made through contact with others and one recognizes himself as part of a history constructed collectively. In this way, the family album is an important iconographic documented legacy for the family and therefore, not only a file of registered souveniers but over all as images of affection, feelings and memories that instigate narratives capable of extending/amplifying the past and the present.
Petsini, Penelope. "Photography and the contemporary Greek family." Thesis, University of Derby, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412423.
Full textSanches-Justo, Joana. "Olhares que contam histórias : a fotografia como memórias e narrativas da família /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/97632.
Full textBanca: Maria Lúcia de Oliveira
Banca: Isaac Antonio Camargo
Resumo: Fotografias estão constantemente ao nosso redor: nos jornais, revistas, outdoors, galerias de arte, nos envolvendo também de forma mais íntima através dos álbuns de família. Colecionar imagens de momentos importantes tais como nascimentos, casamentos, aniversários e viagens é costume de quase toda família, mas por que registrar e guardar estas lembranças? A fim de explorar detalhadamente a relação dos membros da família com seus acervos fotográficos, rastreando os sentidos dos álbuns, realizamos uma investigação tendo como participantes duas famílias: Aragão e Silva. Cada família possuía três voluntários que foram entrevistados individualmente, tendo como foco as narrativas instigadas por fotografias previamente selecionadas de momentos importantes para a família. A conduta básica do entrevistador pautou-se por intervenções mínimas, deixando os entrevistados discorrerem sobre as imagens. Como principais resultados observamos que, apesar das diferenças quanto ao relacionamento com o álbum da família, as fotos guardadas permitem a revisitação de experiências, a re-significação de acontecimentos e a criação de narrativas. No contato com interlocutores possibilita-se a produção de sentido de forma que o sujeito se reconhece como parte de uma história construída coletivamente. Dessa forma, o álbum de família é um importante acervo documental iconográfico e patrimônio do grupo familiar. Funciona não somente como arquivo de registros da memória, mas, sobretudo, como imagens disparadoras de afetos, sentimentos e recordações instigadores de narrativas capazes de ampliar a compreensão do passado e do presente.
Abstract: Photographs are constantly around us in newspapers, magazines, advertizing bill boards, art galleries and specially through the family albums. Collecting pictures of special occasions like births, weddings, birthdays, and trips are a custom of almost any family. Why register and file these souveniers? In order to explore in detail the relation of the family with their photo album and trace the significance of the photo album for the family, a recent study between two families, Aragão and Silva was carried out. This study involved six volunteers, three in each family who were interviewed individually on their personal memories of each pre-selected picture shown of their own family pictures. The behavior of the interviewer was based on minimum interventions, leaving the participants free to discourse about the images. As a result it was observed that regardless of the differences in relationship of the photo album, the pictures allowed the participants to revisit experiences, re-signify events and create vivid memory narratives. The significance of recollective memory is made through contact with others and one recognizes himself as part of a history constructed collectively. In this way, the family album is an important iconographic documented legacy for the family and therefore, not only a file of registered souveniers but over all as images of affection, feelings and memories that instigate narratives capable of extending/amplifying the past and the present.
Mestre
Phillips, Michael. "The family album : an extended portrait /." Online version of thesis, 1987. http://hdl.handle.net/1850/8851.
Full textSykora, Scott. ""Family Focus: Photography Service Design with Sojourner House MOMS"." Research Showcase @ CMU, 2012. http://repository.cmu.edu/theses/30.
Full textBeard, Sophie. "Collecting Collects: the family photograph in the British newspaper." Thesis, University of the Arts London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650314.
Full textDurrant, Abigail Christine. "Family portrayals design to support photographic representations of intergenerational relationships in family homes." Thesis, University of Surrey, 2011. http://epubs.surrey.ac.uk/846429/.
Full textCronin, Orla Siobhan Therese. "The meaning and psychological significance of family photographic collections." Thesis, University of Southampton, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388804.
Full textSchlosser, Katelyn E. "Photographic Research Through a Child Life Lens." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1375695582.
Full textLesme, Anne. "L'enfant dans la photographie sociale américaine de 1888 a 1941 (Jacob A. Riis, Lewis W. Hine et des photographes dela Farm Security Administration) : enjeux sociaux et esthétiques." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3122.
Full textSocial photography was born in the United States at the end of the 19th century at a time when children were beginning to occupy a new place in the family. There is a stark contrast between the rich children, who tend to be sanctified and whose innocence is praised through art, and the poor children, who are often exploited and depicted in a picturesque way. While putting poor children at the heart of their concerns, the reformers used photography as a means to promote social progress, in such a way that text and image prove to be indissociable. Such is the case with Jacob A. Riis, a journalist and photographer who worked in New York at the end of the 19th century, and Lewis W. Hine, through his commitment to the struggle against child labor with the National Child Labor Committee (at a time marked by high immigration, rapid industrialization, and chaotic urbanization), as well as the photographers who worked for the Farm Security Administration at the end of the 1930s within the New Deal. Children are at the heart of a rhetorical system that exploits the vivid and truthful dimensions of photography and its power to move us. They contribute to the emergence of a new genre of photography, social documentary photography, which evolved according to the various ways in which it was disseminated (the press, conferences, exhibitions, and museums). While the cause of children is most often defended and while they maintain their status as subjects in these photographs, the ways in which they are depicted through different means of communication and dissemination sometimes turn them into mere objects
Doubt, Emma. "Portraiture, material culture and photography in the Cherokee Nation's "first family", 1843-1907." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/74674/.
Full textErbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
Full textIn a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Bamford, Ian. "Picturing hunger : photography and the Irish famine 1945-50." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603579.
Full textDailey, Christian Edward. "In memoriam /." Online version of thesis, 1996. http://hdl.handle.net/1850/11958.
Full textVisa, Barbosa Mariona. "Evolució sociològica i narrativa de l'àlbum fotogràfic familiar. Anàlisi pragmàtica de l'àlbum familiar analògic i digital des dels anys seixanta fins a la primera dècada del segle XXI." Doctoral thesis, Universitat de Lleida, 2012. http://hdl.handle.net/10803/81080.
Full textEsta Tesis Doctoral tiene como objetivo principal el estudio de los cambios sociológicos y narrativos de los álbumes de fotografía, partiendo de los años sesenta del siglo pasado hasta llegar a la primera década del siglo XXI. El análisis se hace desde una perspectiva pragmática, combinando la metodología semiótico-narrativa, sociológica, compositiva, tecnológica y discursiva. Del análisis multidisciplinar de los álbumes de fotografía se pueden extraer muchos datos significativos, ya que estos nos hablan del tipo de sociedad de cada momento. Veremos como los álbumes se estructuran siguiendo pautas sociales que las familias reproducen y como la clasificación y organización de las fotografías nos muestra la consideración que tenemos de nuestra vida como un relato que puede ser explicado en imágenes. A su vez, la evolución plasmada en los álbumes digitales con respecto a los analógicos es un reflejo de la evolución que ha sufrido la sociedad, tanto a nivel de cambios en los roles familiares como en los valores que se transmiten. La primera parte de la tesis hace un repaso sociohistórico al uso de la fotografía (y anteriormente, la pintura) para ilustrar la vida cotidiana, haciendo especial énfasis en las décadas estudiadas, que se engloban dentro de los períodos de la primera modernidad, la tardomodernitat y la hipermodernidad. La segunda parte incluye el estudio de casos, donde se extraen las conclusiones de la recogida de datos hechas según los criterios metodológicos expuestos.
This Doctoral Thesis has a main aim the study of the narrative and sociological changes in photographic family albums, starting from the sixties of the last century until the first decade of the XXI century. The analysis is done from a pragmatic perspective, combining the semiotic-narrative, sociological, compositive, technological and discursive methodology. From this multidisciplinar analysis of photographic family albums, a lot of meaningful data can be drawn, because they tell us about the type of society we are living in. We will see how the albums are structured according to social patterns that every family reproduces and how the classification and organization of the snapshots shows the way in we consider our life as a story that can be told in pictures. At the same time, the tecnichal evolution from analogic to digital albums reflects the evolution of society, both in terms of changes in family roles and in the values that are transmitted. The first part of the thesis presents an overview of socio-historical use of photography (and previously, painting) to illustrate everyday life, emphasizing the decades studied, which embrace the period of the First Modernity, Postmodernity and Hipermodernity. The second part includes the study of albums, where the collection of data conclusions made by the methodological criteria are presented.
Bresnahan, Krystal M. "From Portraits to Selfies: Family Photo-making Rituals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6472.
Full textMcGrath, Andrew J. "Beyond Plasticity: Cochlear Implants, Family Objects, and Quasi-Neuronal Lives." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1504781636219078.
Full textWeiner, Eva. "Photography and Mourning: Excavating Memories of My Great-Grandmother." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1096.
Full textSales, Bruno Sampaio. "Silent Screams: Trajectory and Meanings of Family Album in a Housing Complex." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10418.
Full textFotografias carregam consigo e em torno de si, pessoas, lugares onde estiveram, momentos que as atravessaram. A imagem excede Ãlbuns e ganha vida na memÃria e imaginaÃÃo dos observadores e todos que fizeram parte do contexto em que ela foi produzida. Faz-se entÃo necessÃrio que a utilizaÃÃo dessas imagens em pesquisas sociais opere num circuito mais amplo formado por esses indivÃduos, seu ambiente e sua rede de relaÃÃes. Partindo desse pressuposto, o presente trabalho tem por objetivo construir um compÃndio de palavras e imagens que busca mapear e analisar a gama das dimensÃes, significados e papÃis sociais da fotografia em uma famÃlia de classe popular, a partir de estudo de caso no Conjunto Habitacional SÃo Vicente de Paulo, localizada na cidade de Fortaleza. Ã perceptÃvel uma multiplicidade de papÃis e afetos que essas imagens mobilizam dentro de tais grupos. Quais entÃo seriam esses sentidos do arquivamento de imagens para uma famÃlia? Na intenÃÃo de conhecer o outro, observando e tentando compreender seus registros visuais de ritos, cotidiano e diferenÃas - aprofundando-se em vidas - Ã necessÃrio tambÃm olhar em volta. Sentir e perceber instantes que nÃo se revelam nem se escrevem em papÃis, pois transbordam deles e alcanÃam um campo mais complexo. Ã importante entÃo perceber que buscando compreender fotografias, podemos alcanÃar tambÃm visÃes de mundo e imagens da alma. SÃo essas as mais fortes e potentes que encontrei junto de algumas pessoas e que pretendo aqui analisar e compartilhar.
Fotografias carregam consigo e em torno de si, pessoas, lugares onde estiveram, momentos que as atravessaram. A imagem excede Ãlbuns e ganha vida na memÃria e imaginaÃÃo dos observadores e todos que fizeram parte do contexto em que ela foi produzida. Faz-se entÃo necessÃrio que a utilizaÃÃo dessas imagens em pesquisas sociais opere num circuito mais amplo formado por esses indivÃduos, seu ambiente e sua rede de relaÃÃes. Partindo desse pressuposto, o presente trabalho tem por objetivo construir um compÃndio de palavras e imagens que busca mapear e analisar a gama das dimensÃes, significados e papÃis sociais da fotografia em uma famÃlia de classe popular, a partir de estudo de caso no Conjunto Habitacional SÃo Vicente de Paulo, localizada na cidade de Fortaleza. Ã perceptÃvel uma multiplicidade de papÃis e afetos que essas imagens mobilizam dentro de tais grupos. Quais entÃo seriam esses sentidos do arquivamento de imagens para uma famÃlia? Na intenÃÃo de conhecer o outro, observando e tentando compreender seus registros visuais de ritos, cotidiano e diferenÃas - aprofundando-se em vidas - Ã necessÃrio tambÃm olhar em volta. Sentir e perceber instantes que nÃo se revelam nem se escrevem em papÃis, pois transbordam deles e alcanÃam um campo mais complexo. Ã importante entÃo perceber que buscando compreender fotografias, podemos alcanÃar tambÃm visÃes de mundo e imagens da alma. SÃo essas as mais fortes e potentes que encontrei junto de algumas pessoas e que pretendo aqui analisar e compartilhar.
Belleau, Hélène. "Les représentations de l'enfant dans les albums de photographies de famille." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26638.pdf.
Full textPrietto, Malia P. "Picture Yourself: A Heuristic Exploration of Identity Development Through the Use of Photography." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/87.
Full textFine, Jenny. "Performing Tenderness." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.
Full textTinaut, Maria. "Construction of an album for oneself." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4818.
Full textBlazejewski, Susanne. "Bild und Text-Photographie in autobiographischer Literatur : Marguerite Duras' "L'Amant" und Michael Ondaatjes "Running in the family /." Würzburg : Königshausen und Neumann, 2002. http://catalogue.bnf.fr/ark:/12148/cb38994408q.
Full textRetford, Kate. "Family and familiarity : the domestic sphere in eighteenth-century English visual culture." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/54814/.
Full textHsu, Chi-Lin. "La pholographie de famille comme oeuvre photographique." Paris 1, 1995. http://www.theses.fr/1995PA010574.
Full textThe question is to know how the subject of the family is represented in a photographic work of art. The definition with a double axis, that is, about the subject of work and the action of artist, allows us to determine the content of discourse. By the comparaison between amateurs' pictures and those of artists, we can distinguish two kinds of works produced in the history of photography : one concerns "the family" as photographed object, the other, "the family photography" as object of contemplation. The works presented here offer a concrete example by which we examine the place of the photography in the world of art as well as the artisitc potentiality in the photography
Ward, Laurian Gillian. "Family experiences of physical trauma." Diss., Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-04292008-113212.
Full textSheffield, Katie J. "Descendants." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3155.
Full textDornier-Agbodjan, Sarah. "Histoire de liens, histoire de biens : la photographie de famille : mémoire et transmission." Besançon, 2003. http://www.theses.fr/2003BESA1001.
Full textDelage, Chollet Colette. "Pratique de photographie et de videoscopie familiales dans la France contemporaine." Toulouse 2, 2001. http://www.theses.fr/2001TOU20026.
Full textThe development of photography, a result of economic growth, has led to its appropriatio by individuals (trought the democratization of the portrait and amateur photography). Anthropologists also used photographs then films (for illustration as participant observers) before becoming interested in them as an object of study in their own right. This research proposes the analysis of family usesof photographs and video in France (1990-2000). Work carried out on recent developments in the family and that related to family uses of photography define its context. Besides the actual subject of the views taken, what do these uses represent in themselves, how are they related to the functioning of contemporary families ? To what extent do the use of photographs or video reveal, translate, participate in and/or organise ways of "being" part of a family ? Observation of the corpus, together with an analysis of the way 37 people use photographs/video, complemented by their commentaries, confirms the central position and selective nature of the "album", but also its role in the contruction and fragmentation of time. These two points are expression of autobiographical intention of the organiser. The analysis also underlines the importance of the other photographs which are not included in the album. The intermingling of family rites and photographic/video rituals on the occasion of formal marriage celebrations or unofficial ones, or on the arrival of a child (by birth or adoption) proves that photography and video reflect and are a part of changes in family arrangements. Divorce, separation, re-formed families, all these have had an effect on their use. The way they are used is revealing of current attitudes in the face of death (the corpse as "taboo" and also of how the family's photographic inheritance is managed and transmitted. It is thus, that photographs and video, by provoking speech and expressing affects, provide an insight into their link with individual and family memories
Eggers, Sarah H. "Using Photography and Poetry in Group Therapy for People with Severe and Persistent Mental Illness: An Outcome Study." Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/58.
Full textBrown, Christopher Shawne. "Exegesis." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1903.
Full textBarromi, Perlman Edna. "Researching photographic representation of biological families in kibbutzim in Israel between 1948 and 1967 : family snaps on kibbutz : do they exist?" Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442443.
Full textBorel, Florence. "Visages photographiés, une inquiétante familiarité : approche formulée d'un usage personnel de la prise de vue." Paris 1, 1997. http://www.theses.fr/1997PA010659.
Full textThis research includes black and white photographs, taken with an hasselblad camera, and a text. The picture always show a single person, blurred by her movement, in front of an old building, centred in a frontal way. They make a series which leads to comparison between the pictures. Article headed " the uncanny feeling" from sigmund freud gives a starting point for my writing. It seems likely to be a tool to analyse the picture. An evolution took place during the writing; it resulted in a personnal definition of photography. This definition totally stems from the pictures. The statement of the thesis is : the photographic picture, trace of outside reality, brings to its surface the little nocturn, secret and intimate theatre of its author. It asserts its author as a photographer. The text aims at considering the pictures from every angle. The plan is built by the succession of three "rooms". The first one, the light room, visually studies the pictures and points out their significant aspects. She first studies the setting, then the human figure- showing the theatricalness of the work. The dark room, then, treats of what's before the pictures: the stages of their making, but also the ground where the research takes root (family photography). She treats the topic of series, of glance, and gives a glossary of important photographical notions. The last one, the room of writing, starts with a presentation of the uncanny feeling as studied by freud, directly compared to this plastic work. The appropriation of this notion is showed by a new designation: the uncanny familiarity. It allows to have a new appreciation on the setting, then the model; disorientation and depersonnalisation characterize them. At last, art of memory, then the themes of double, magic and aura are treated
Brown, Phoebe A. "The Culinary Browns." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/63.
Full textGorham, Elizabeth Trabue. "Boundaries." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1395.
Full textRedondo, i. Arolas Mar. "Llegat i vigència de les aportacions de l'exposició "The Family of Man" en la representació fotogràfica de la identitat." Doctoral thesis, Universitat de Barcelona, 2010. http://hdl.handle.net/10803/32049.
Full textThis research address the discursive capacity of photography, delimiting specific uses of the photographic medium and analyzing some exhibitions that question the photography that speaks about mankind in relation to its social context. It is for this reason that research takes as its focus of interest The Family of Man photographic exhibition of great relevance attending to the idea of the project, the management of the pictures, and in terms of public reception. Curated by Edward Steichen, was opened at the Museum of Modern Art in New York in 1955. Its study concludes that it is a paradigmatic case of model photography exhibition that brings together many of the issues being and discussed even now around the photography, art, and their social implications. The research reflects the highlights that are shown in some exhibitions and in several artistic attitudes of the late twentieth and twenty-first centuries, and also the critical and reflective attitudes of the authors which seem to reveal directly or indirectly, the inheritance of the purposes of the photographer E. Steichen, the most representative artifex of a photographic movement that tries to reconcile art and common daily life. The review and the analysis of exhibitions outline what has changed in the photography attending to the perception and representation of men and their social relationships, and how these changes have been mirrored in several contemporary art demonstrations about mankind. Likewise studying the works through the time reveals some of the changes that have occurred since the fifties about the conception and understanding of the photographic image in the context of art.
Becker, Natasha. "Inside and outside the family album: Making, exhibiting and archiving the photograph in the South African National Gallery and the National Library of South Africa." University of the Western Cape, 2018. http://hdl.handle.net/11394/6046.
Full textOne of the first things that reached me about photography was how a photograph tells a story or stories. This experience is perhaps most common when viewing personal photographs. A few years ago I was looking through a vast number of personal photographs, of a family I knew well, and was struck by how all the photographs (in albums, framed or lying loosely about) were part of a particular family narrative. Even without the storytelling, which accompanied my viewing of the photographs, I could still 'read' bits and pieces of the family history (and the broader social, political and cultural histories) in their photographs.
Cajiao, Nieto Ana Isabel. "El lugar de lo siniestro en la fotografía contemporánea. Realidad y ficción, identidad y muerte." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/404219.
Full textThis thesis arises the study of the close concomitance that exists between contemporary photography and the manifestation of the uncanny. From Freud's 1919 essay, Das Unheimliche, and the realization of the leading role of photography in the processes of reality construction, we analyze the reasons that make the photographic image a propitiatory field for the experimentation of the uncanny. The analysis is developed through of a series of photographic examples, produced from the decade of the 80's, by artists active in Europe and the United States. The works analysed converge in their capacity to arouse in the spectator an indescribable feeling of restlessness and fear of difficult identification. The selected examples transcend indistinctly between reality and fiction, leaving in evidence the characteristic ambivalence of photography and the malleability of our perception. The photograph then reveals itself as a suitable way to dive in that experimentation of the uncanny that is unleashed before a possible loss of the limit that separates the reality from the fiction. Fear and anguish in the face of the unknown is made visible through seemingly innocuous images, in which, however, the familiar becomes strange and what had hitherto been hidden -‐ in the unpronounceable of desires -‐ Is made manifest. Children and the family, as well as the search for their own identity, are revealed as interesting areas for inquiry. By means of his photographic representations the forms by which the uncanny is manifested before the spectator's gaze become evident. Through the images, the recollected memories emerge and reappear what had been buried deep inside the subject. The experimentation of the ominous is then unavoidable and places the individual on the boundary of the abyss where the fears and desires that make up his interior inhabit. Photography and uncanny are born and expand in parallel; their relationship is thus presented as an interesting reading key capable of understanding contemporaneity and exhorting the subject to new ways of approaching his own reality.
Browning, Robin Eileen. "Evolution of roots." CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-08282008-142232/.
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