Dissertations / Theses on the topic 'Family photographs'
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1
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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Justo, 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.
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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.
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Petsini, Penelope. "Photography and the contemporary Greek family." Thesis, University of Derby, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412423.
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Sanches-Justo, Joana. "Olhares que contam histórias : a fotografia como memórias e narrativas da família /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/97632.
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Orientador: Elizabeth da Silva GelliBanca: 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
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Phillips, Michael. "The family album : an extended portrait /." Online version of thesis, 1987. http://hdl.handle.net/1850/8851.
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Sykora, Scott. ""Family Focus: Photography Service Design with Sojourner House MOMS"." Research Showcase @ CMU, 2012. http://repository.cmu.edu/theses/30.
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Photography can play an incredibly important role in strengthening relationships. It can also help give individuals and communities voices to tell their stories both to the outside world and to themselves. In this project I explore how photography can play a meaningful role within a specific community and context. I also explore how Design as a discipline can help in creating sustainable activities within an organization.
Sojourner House is an organization that works with formerly homeless female addicts and their children. Sojourner House’s MOMS Program (Motivation, Opportunities, Mentoring and Spirituality) provides long-term housing and services for these families. Over the course of nine months I worked with the MOMS organization to create a new photography-based service. The outcome is a compelling and fun set of photography activities. These activities are meant to strengthen relationships between the children, their families and the Sojourner House community.
When working with people and organizations everything revolves around the trust and relationships that are formed. Developing relationships became the most important part of my design process as well as the goal of the final artifact we produced. This paper documents my work.
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Beard, 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.
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Durrant, 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/.
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Focusing on intergenerational relationships, this project combined theoretical and empirical studies to explore the use of photographs in self and family representation at home. This exploration was considered timely given the recent adoption of digital capture devices by both parents and children and the unprecedented amount of photographic content that they generate. This has raised interesting questions concerning the digitisation and democratisation of family photography, in terms of form and content. Inquiry was positioned in the field of Human Computer Interaction (HCI). The proposed contribution of the project to the HCI field was threefold. First, findings on the psychological function of photographic displays were intended to inform the design and innovation of display technologies for family homes. A focus upon home display was informed by the recent emergence of new display technology paradigms; and a critical perspective was adopted on the potential application of these technologies in home settings. Second, findings were intended to illuminate the social psychological function of photos as cultural artefacts. In order to inter-relate psychological understandings and the practice of design, the project engaged multiple discourses, inviting a third contribution: to develop the foundations of an interdisciplinary methodological approach. Epistemological compatibility for this inquiry was found in Phenomenology and the use of Interpretative Phenomenological Analysis (IPA). Qualitative research constituted three empirical studies, plus conceptual design exercises and the fabrication of a novel design for inclusion in empirical work. The research population comprised parents and their older teenagers, of British nationality, residing together in the United Kingdom. For Study One, participants were interviewed at home about their use of stored and displayed photos for portraying self and family. Analysis highlighted the significance of portrayals for shaping the social, moral order of homes, and the design implications of this. Study Two explored the potential integration of teenagers’ and parents’ photo displays in communal domestic spaces and how digital display design may support intergenerational expression. Findings supported integration and further design implications were generated. Study Three engaged the same teenagers exclusively and explored their use of Internet-enabled platforms at home for self and family representation. Findings revealed how their display practices mediated self-processes and related to the functioning of the family household. Psychological insights and design considerations were produced from this research. New questions and opportunities were established for future researchers.
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Cronin, 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.
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Schlosser, Katelyn E. "Photographic Research Through a Child Life Lens." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1375695582.
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Lesme, 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.
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La naissance de la photographie sociale aux États-Unis à la fin du XIXe siècle est contemporaine d'une place nouvelle accordée à l'enfant dans la structure familiale. Le contraste est grand entre l'enfant riche, sacralisé, à l'innocence louée dans les arts, et l'enfant pauvre, souvent exploité mais représenté de façon surtout pittoresque. Tout en mettant l'enfant pauvre au cœur de leurs préoccupations, les réformateurs font usage de la photographie dans une optique de progrès social et d'intervention où texte et image se révèlent indissociables, qu'il s'agisse de Jacob A. Riis, journaliste et photographe à New York à la fin du XIXe siècle et de l'engagement de Lewis W. Hine dans la lutte contre le travail des enfants avec le National Child Labor Committee, dans un contexte de forte immigration, d'industrialisation et d'urbanisation chaotique, ou des photographes de la Farm Security Administration à la fin des années 30 dans le cadre du New Deal. L'enfant est au centre d'une rhétorique qui s'appuie sur la dimension vivante et vraie de la photographie et sur son pouvoir émotionnel et il contribue à la définition d'un genre photographique : le documentaire social, dont le statut évolue sous l'effet de la diversification des modes de diffusion (presse, conférences, expositions, musée)Social 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
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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/.
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Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
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Dans une époque qui manifeste une exacerbation de la représentation de soi (àtravers les réseaux sociaux notamment), notre objet d'étude propose uneréflexion sur la mémoire et la reconstruction d'histoires dans les pratiquesartistiques. Utilisant comme point de départ une production photographiquepersonnelle (Reprises), nous proposons une articulation entre théorie etcréation, dans une dialectique qui part de l'analyse des oeuvres personnelles,pour établir un dialogue avec des théoriciens et des oeuvres contemporainestraitant ces problématiques. Dans ce type de démarches rétrospectives quiréinterprètent le passé, les artistes travaillent à partir des traces matérielles etmnésiques, telles les images d'albums de famille, les archives, les documents oules témoignages. Mêlant des univers esthétiques différents dans une nouvelleunité, ils font coexister leurs propres images avec des sources existantes, des viesdisparues avec leurs propres existences. Leurs oeuvres deviennent alors unerecréation artistique et postulent un espace narratif singulier qui évoque unepoétique de la mémoire. Partielles et fragmentaires, elles donnent à voir unrécit reconfiguré par l'imaginaire et le montage. Elles dépassent le champstrictement photographique et ouvrent leur langage au dialogue avec les autresarts, prenant la forme d'oeuvres hybrides. Quelle relation établir entre mémoire,reconstruction et identité, entre histoire individuelle et histoire collective ? Si lepassé est métamorphosé, comment le reconstruire ?In 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 ?
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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.
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Enduring for more than five years, the Great Irish Potato Famine, an apparently intractable humanitarian catastrophe characterised by substantial population displacement, widespread starvation and mass mortality throughout the island of Ireland, produced multiple crises for the emerging structures of modernism. Prevailing ideological concepts surrounding social organisation, the limits of governmental intervention, economic orthodoxy, as well as religious and moral responsibility in response to distant suffering, were all challenged by the advent of a disaster of this magnitude within the boundaries of a modem state. Yet, this subsistence crisis occurred during a decade of technological innovation that saw the advent of both pictorial journalism and the emergence of photography within the metropolitan core. Thus, the Famine was the first time that middle class viewers were confronted with images of distant suffering through the auspices of the newly formed illustrated press. In particular, the Illustrated London News published numerous images depicting the effects of starvation and suffering throughout the continuing subsistence crisis. These images have been associated with influencing British public opinion in regard to the appropriate response towards this humanitarian crisis and can also be directly linked to the visualisation of suffering today. While photography was not used to directly depict the ravages of starvation in a manner akin to photojournalistic representations of distant suffering, it was utilised by members of the aristocratic elite in the post-Famine decade to represent the land and people in a manner that responded to official attempts to impose modem structures upon Ireland. Therefore, although the Famine remains unrepresented photographically, this initial attempt to visualise distant suffering within modernity had a profound impact upon the development of representative strategies that resonate today.
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Dailey, Christian Edward. "In memoriam /." Online version of thesis, 1996. http://hdl.handle.net/1850/11958.
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Visa, 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.
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Aquesta Tesi Doctoral té com a objectiu principal l’estudi dels canvis
sociològics i narratius dels àlbums de fotografia, partint dels anys seixanta del
segle passat fins a arribar a la primera dècada del segle XXI. L’anàlisi es fa
des d’una perspectiva pragmàtica, combinant la metodologia semiòticonarrativa,
sociològica, compositiva, tecnològica i discursiva.
De l’anàlisi multidisciplinar dels àlbums de fotografia se’n poden
extreure moltes dades significatives, ja que aquests ens parlen del tipus de
societat de cada moment. Veurem com els àlbums s’estructuren seguint
pautes socials que les families reprodueixen i com la classificació i
organització de les fotografies ens mostra la consideració que tenim de la
nostra vida com un relat que pot ser explicat en imatges. A la vegada,
l'evolució plasmada en els àlbums digitals respecte als analògics és un reflex
de l'evolució que ha patit la societat, tant a nivell de canvis en els rols
familiars com en els valors que es transmeten.
La primera part de la tesi fa un repàs sociohistòric a l’ús de la fotografia
(i anteriorment, la pintura) per a il·lustrar la vida quotidiana, fent especial
èmfasi a les dècades estudiades, que s’engloben dins dels períodes de la
Primera Modernitat, la Tardomodernitat i la Hipermodernitat.
La segona part inclou l’estudi de casos, on s’extreuen les conclusions
de la recollida de dades fetes segons els criteris metodològics exposaEsta 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.
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Bresnahan, Krystal M. "From Portraits to Selfies: Family Photo-making Rituals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6472.
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From family-style portraits to selfies, who is photographer and/or photographed varies as families engage, stage, and interpret the visual. How families participate in photo-making changes how individual family members feel about and relate to not only their photographs, but also each other. In this dissertation, I examine photographs as visual and material objects, and include the communication processes and ritual practices of producing, consuming, curating, viewing, and circulating these photos. By framing family photo-making as ritual, I explore how families do photo-making in everyday life, and identify the patterns of choice embedded in the genre of family photography, which symbolically and socially construct family.
My methodological approach moves from analyzing images to the lives of photos and spaces in which photos are represented and shared, observing visible practices and the traces – photographs and photo displays – they produce. I ask questions about communicative acts of performing rituals and negotiating family memory in the public space of the Easter Bunny Photo Hut, the personal and domestic space of a mother’s home, and the digital space of the social media app Snapchat. Each site provides a unique access point to study family photo-making ethnographically. Combining my ethnographic observations with photo elicitation interviews, I study the symbolic value of photographs negotiated by and between family members.
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McGrath, 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.
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Weiner, Eva. "Photography and Mourning: Excavating Memories of My Great-Grandmother." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1096.
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This paper explores how photographs have affected mourning processes in the past and how photo-technology may be able to change the way in which we mourn in the future. It includes an overview of the history of post-mortem photography and discusses the perspectives of well-known media theorists such as Roland Barthes and Susan Sontag. It engages with psychologists by including their perspectives on the effect that photographs have on the mourning process. A project was created to investigate how photo-technology can affect the bereaved. The project places photographs of a mother into pictures of her children taken after she had passed away. These photographs were later shown to her sons in order to explore how this impacts their memories and mourning processes.
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Sales, 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.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorFotografias 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.
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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.
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Prietto, 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.
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This research project explores the use of photography in the therapeutic setting as a means to develop one’s identity as an emerging adult. It contains a literature review that synthesizes the existing research on the developmental stage of emerging adulthood, identity formation, art therapy with adolescents, and photo art therapy. The research project is an art-based, heuristic study of the researcher’s journey of identity formation through examining old photographs and creating new ones. The findings suggest that the use of photography in the therapeutic setting can enhance one’s identity development by allowing self-confrontation through self-portraits, permitting the review of past events via archival photographs, and providing the individual with an objective view of him- or herself.
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Fine, Jenny. "Performing Tenderness." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276799884.
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Tinaut, Maria. "Construction of an album for oneself." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4818.
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My work focuses on the construction and validation of images assembled from fragments of found photographs, generating new narratives that hover between “reality” and fiction. Archive and Fiction: Construction of the past and the self is the result of two years of artwork exploring my family archives and my relationship to my family through them. I understand the family as a place of identity in continuous change, serving as a container of history and memory. Conceiving of my family albums as material allows me to approach my family history as a visitor. Mediated memory and constructed memory intertwine in the family album, a linear format that also inadvertently reveals gaps, both temporal and contextual. By understanding how photography’s authority constructs personal and family identity, I seek to undermine this authority, using photography’s “realness” against itself to create alternative narratives of within which I can belong.
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Blazejewski, 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.
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Retford, Kate. "Family and familiarity : the domestic sphere in eighteenth-century English visual culture." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/54814/.
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This thesis analyses eighteenth-century portraiture within the context of 'norms' propagated in contemporary prescriptive and fictional literature, 'norms' which overlay a heterogeneous reality. The aspirant portraitist had to accord with the desire of sitters to be depicted in a manner that would receive approbation. Thus, disparate relationships were pictorially subsumed within affectionate ideals that burgeoned in the mid eighteenth century, stimulated by the cult of sensibility and disseminated through an expanding body of literature to an expanding readership. However, these did not displace more 'traditional' concerns, but appeared alongside continuing pictorial emphases on patriarchy, hierarchy and dynastic continuity. The introduction outlines the historiography and methodology and provides a detailed summary of each chapter. Chapter one examines the emergence of the companionate marital portrait, together with pictorial condemnations of arranged and romantic unions. Chapter two argues that this new emphasis on affection did not displace patriarchy. Pendants continued to demarcate masculine and feminine domains whilst double portraits emphasised those domains as complementary, but unequal. Chapter three discusses the pictorial and literary sentimentalisation of motherhood and argues that condemnations of female display were acknowledged in portraits of engrossed and self-effacing mothers. Chapter four counters that the sentimentalisation of the patriarch was limited by a continuing preoccupation with his pre-eminence and that later images of playful children maintained earlier concerns with age and gender hierarchies and 'futurity'. Chapter five argues that both an emphasis on heirs and anxiety over the implications of high infant mortality for dynastic succession remained constant. The contextualisation of portraits within the home also reveals an emphasis on unbroken lineage. Chapter six examines satires of transgressions of ideal familial relations by members of a supposedly debauched aristocracy. However, these aristocrats sometimes countered such attacks with portraits emphasising status and domestic virtue. The conclusion summarises the arguments and discusses their implications for debates over class.
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Hsu, Chi-Lin. "La pholographie de famille comme oeuvre photographique." Paris 1, 1995. http://www.theses.fr/1995PA010574.
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La question est de savoir comment le sujet de la famille est représenté dans un travail photographique destinée à l'œuvre d'art. Une définition a double axe, celui du sujet d'œuvre et celui de l'acte de l'artiste, permet de cerner le champ de discours. Par la mise en parallèle de la photographie d'amateur et de celle d'artiste, il est possible d'établir deux catégories d'œuvres produites au cours de l'histoire de la photographie : "la famille" comme objet photographie, et "la photographie de famille" comme objet de contemplation. L'ensemble des œuvres traitées fournit un exemple concret à travers lequel est proposée une réflexion sur la place de la photographie dans le monde de l'art ainsi que sur la part de l'art dans la photographieThe 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
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Ward, Laurian Gillian. "Family experiences of physical trauma." Diss., Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-04292008-113212.
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Sheffield, Katie J. "Descendants." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3155.
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The photographer discusses the photographs in Descendants, her Master of Fine Arts thesis exhibition which was held at Tipton Gallery, Johnson City, Tennessee from October 31, 2016 through November 23, 2016. The exhibit consisted of 19 large format color photographs. This body of work visually represents the artistʼs interest in those who participate in Civil War re-enactments.
The historical and contemporary influences discussed are in accordance to Sheffieldʼs photographs. Historical influences include Matthew Brady, James Abbott McNeill Whistler, Walker Evans, and Helen Levitt, as well as those of contemporary artists; Martin Parr, Stacy Kranitz, and Anderson Scott.
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Dornier-Agbodjan, Sarah. "Histoire de liens, histoire de biens : la photographie de famille : mémoire et transmission." Besançon, 2003. http://www.theses.fr/2003BESA1001.
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Liée au vécu du groupe familial, la photographie de famille est un "lieu de mémoire" par excellence. Tranche d'espace-temps fixée pour toujours, elle provoque sans cesse le langage pour lui donner tout son sens. Histoire de vie plurielle, mettant en évidence divers rôles sociaux, divers réseaux sociaux, la photographie de famille traduit une ré-appropriation de la vie sociale et apparaît comme un atout méthodologique privilégié pour le recueil de récits de vie. Au sein de la famille, le lien qui unit le connaisseur à ses photographies, trahit le lien qui l'unit à ce qui est photographié, c'est-à-dire au monde dans lequel il vit. Considérée comme un substitut du réel, la photographie de famille est dotée d'une valeur essentiellement symbolique, et se présente comme un objet d'appropriation plus que de transmission. Entre passé et présent , entre individuel et collectif, entre vivants et morts, la photographie de famille constitue ainsi, un patrimoine aussi bien familial que social.
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Delage, Chollet Colette. "Pratique de photographie et de videoscopie familiales dans la France contemporaine." Toulouse 2, 2001. http://www.theses.fr/2001TOU20026.
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L'essor de la photographie, lié à l'expansion économique, a favorisé son approximation par les particuliers (démocratisation du portrait, pratique amateur). L'ethnologie a aussi utilisé la photographie puis le film (illustration, observation participante) avant de s'y intéresser en tant qu'objet d'étude. Cette recherche propose l'analyse de pratiques photo/vidéo familiales en France (1990-2000). L'état des travaux sur l'évolution récente de la famille et ceux relatifs aux pratiques de photographie familiale en situent les contextes. Outre les sujets des prises de vues, que représentent en elles-mêmes ces pratiques, quelles sont leurs relations avec les fonctionnements familiaux contemporains ? En quoi les pratiques photo/vidéo révèlent, traduisent, participent et/ou organisent des manières " d'être " en famille ? L'observation des corpus et l'analyse des pratiques photo/vidéo de 37 personnes, complétées par leurs commentaires, confirment la place centrale de " l'album " et son caractère sélectif mais saisissent aussi son rôle quant à la construction et la fragmentation du temps. Ces deux points expriment l'intention autobiographique de l'organisateur. L'analyse souligne également l'importance d'autres photographies non classées. L'intrication des rites familiaux et des rituels photo/vidéo lors de la constitution des alliances formelles et des unions libres et pour l'arrivée d'un enfant (naissance ou adoption) prouve que la photo/vidéo reflète/participe aux mutations familiales. Divorces, séparations, recompositions familiales ont des effets sur les pratiques. Celles-ci révèlent des attitudes actuelles au moment de la mort (" tabou " du corps mort) ainsi que les modalités de la gestion et de la transmission du patrimoine photographique familial. Déclenchant paroles et expression des affects, la photo/vidéo laisse ainsi paraître ses relations avec la mémoire individuelle et familialeThe 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
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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.
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This research explores the experience of participation in a pilot program that integrated poetry and photography for a group of seven adults living with severe and persistent mental illness. Data was gathered in the form of written, visual and verbal responses generated through a semistructured, qualitative focus group that took the week after the end of the pilot program. The data was categorized and coded using a analytical procedure based on Photovoice, a participatory action research model that seeks to empower research participants by providing them with cameras to document and share issues of importance to their lives. Analysis of the data resulted in the emergence of six overarching themes: 1) The group experience 2) Self vs. other 3) Accomplishment and challenge 4) Confinement vs. freedom 5) Observing vs. Being observed/new perspectives and 6) Memories recalled. These themes were examined against existing literature about the use of photography and poetry in therapy, arts-based and group therapy treatments of severe and persistent mental illness, and the use of participatory and artsbased research in mental health. The findings of this research emphasize the rich possibilities for incorporating linked language/written and visual interventions in the treatment of severe and persistent mental illness, as the two offer complementary but distinct opportunities for healing, growth and self-expression. Moreover, this study demonstrates the importance of including mental health clients as participants in qualitative research regarding their perceptions of treatment, and the fundamentally empowering experience of being viewed and treated as experts on their own lives.
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Brown, Christopher Shawne. "Exegesis." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1903.
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The photographer discusses the work in Exegesis, his Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 29 through November 2, 2007. The exhibition consists of 19 large format color photographs representing and edited from a body of work that visually negotiates the photographer's home in East Tennessee.
The formulation of a web of influence is explored with a focus on artists who continue to pertain to Brown's work formally and conceptually. Included are photographers Eugene Atget, Walker Evans, William Eggleston, and Mike Smith as well as the artist Joseph Cornell, the painter Robert Motherwell, and the poet Charles Wright. Other topics include a discussion of place, particularly one's home, as a resource and an envelope for a body of work.
Included are images of the photographer's earlier work and a catalogue of the exhibition.
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Barromi, 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.
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Borel, 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.
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Cette recherche comporte des photographies en noir et blanc, au moyen format, et un texte. Les images mettent toujours en scène une personne seule, en mouvement et floue, devant une bâtisse ancienne, cadrée de manière frontale. L'ensemble forme une suite incitant à confronter les clichés entre eux. Traduit sous le titre "l'inquiétante étrangeté", un article de Sigmund Freud, fournit le point de départ de la réflexion écrite. Il parait en effet susceptible de constituer un outil pour analyser ces prises de vues. Une évolution s'est produite au fil de la rédaction, aboutissant à une définition personnelle de la photographie, définition entièrement issue des tirages. La thèse proprement dite s'énonce ainsi " l'image photographique, trace d'un réel extérieur, laisse affleurer a sa surface le petit théâtre nocturne, secret et intime de son auteur. Elle affirme ainsi son auteur comme photographe. Le déroulement du texte vise à considérer les clichés sous tous leurs aspects. Le plan est construit par la succession de trois "chambres". La première, la chambre claire, étudié les images visuellement et relève leurs aspects significatifs. Elle examine d'abord le décor, puis le personnage- soulignant la théâtralité du travail. La chambre obscure, ensuite, traite l'amont des épreuves : les étapes de leur fabrication, mais aussi le terrain ou s'enracine la démarche (photo de famille). Elle interroge les thèmes de la série, du regard, et propose un lexique des notions photographiques importantes. La dernière, la chambre d'écriture, débute par une présentation de l'inquiétante étrangeté étudiée par Freud, aussitôt mise en rapport avec ce travail plastique. L'appropriation de cette notion est marquée par une nouvelle dénomination : "l'inquiétante familiarité". Elle permet de porter un autre regard sur le décor, puis le modèle : désorientation et dépersonnalisation les caractérisent. Enfin l'art de la mémoire, puis les notions de double, de magie et d'aura sont évoquésThis 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
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Brown, Phoebe A. "The Culinary Browns." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/63.
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The Culinary Browns is an experimental documentary that traces four generations of the Brown family beginning with Bob Brown, my great-grandfather, a writer of pulp fiction, modern poetry, cookbooks and social commentary. This documentary is not a linear history or purely factual document, but instead, uses personal experience as a means to generate more universal connections to the inherently dysfunctional dynamics of family, the fragmentary quality of memory, and to ultimately remind the viewer that history is relative.
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Gorham, Elizabeth Trabue. "Boundaries." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1395.
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The photographer discusses the work in Boundaries, her Master of Fine Arts exhibition on display at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 31 to November 4, 2011. The exhibition consists of 20 black and white photographs, the main subject of which is the photographer's son. The photographs and supporting thesis explore the idea of boundaries real and implied, and how confinement can prompt a variety of behaviors. Topics include the process and evolution of the work and the artists who have influenced it, the importance of light and the challenge of photographing family. Included is a catalogue of the exhibition.
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Redondo, 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.
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La recerca que es presenta aborda la capacitat discursiva de la fotografia, delimitant uns usos concrets del mitjà fotogràfic i analitzant algunes exposicions que es qüestionen la fotografia que parla de l’home en relació amb el seu context social. És per aquest motiu que la investigació pren com a centre d’interès "The Family of Man", exposició fotogràfica de gran rellevància quant a la idea de projecte, quant al procés de gestió de les imatges, i quant a la recepció pública. Comissariada per Edward Steichen, es va inaugurar al Museu d'Art Modern de Nova York l’any 1955. Del seu estudi se’n conclou que es tracta d’un cas paradigmàtic de model expositiu fotogràfic que aglutinava molts dels aspectes que s’han debatut i es debaten encara al voltant de la fotografia, de l’art, i de llurs implicacions socials. En la recerca es circumscriuen els temes de reflexió més rellevants i s’observa com es presenten aquests en algunes exposicions o actituds artístiques de finals del segle XX, principis del XXI, les actituds reflexives i crítiques dels autors de les quals semblen revelar directament o indirecta, l’herència dels propòsits del fotògraf E. Steichen, artífex representatiu d’un corrent en la producció fotogràfica que procura conciliar l’art i la vida comuna. La revisió i l’anàlisi d’exhibicions perfilen el què ha canviat en la fotografia pel que fa a la percepció i representació de l’home i les seves relacions socials, i com aquests canvis s’han emmirallat en les diverses manifestacions artístiques contemporànies sobre l’home. Així mateix, el recorregut per les obres i el temps deixen paleses algunes de les modificacions que des dels anys cinquanta han esdevingut respecte a la concepció i comprensió de la imatge fotogràfica en el context de l’art.This 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.
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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.
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Magister Artium - MA (History)One 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.
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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.
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Esta tesis se plantea el estudio de la estrecha concomitancia que existe entre la fotografía contemporánea y la manifestación de lo siniestro.
A partir del ensayo de Freud de 1919, Das Unheimliche, y la constatación del rol protagónico que asume hoy en día la fotografía en los procesos de construcción de realidad, se analizan los motivos que hacen de la imagen fotográfica un campo propiciatorio para la experimentación de lo ominoso.
El análisis se desarrolla por medio de una serie de ejemplos fotográficos, producidos a partir de la década de los 80’s, por artistas activos en Europa y Estados Unidos. Las obras analizadas convergen en su capacidad de suscitar en el espectador una indescriptible sensación de inquietud y temor de difícil identificación. Los ejemplos seleccionados transitan indistintamente entre la realidad y la ficción, dejando en evidencia la ambivalencia característica de la fotografía y la maleabilidad de nuestra percepción.
La fotografía se desvela, entonces, como una vía idónea para bucear en aquella experimentación de lo siniestro que se desata ante una posible pérdida del límite que separa la realidad de la ficción. El temor y la angustia frente a lo desconocido se hace visible por medio de unas imágenes aparentemente inocuas, en las que, sin embargo, lo familiar se hace extraño y lo que, hasta entonces se había mantenido oculto –en lo impronunciable de los deseos– se hace manifiesto.
La infancia y la familia, así como la búsqueda de la propia identidad, se desvelan como interesantes ámbitos para la indagación. Por medio de sus representaciones fotográficas se evidencian las formas mediante las cuales lo siniestro se manifiesta ante la mirada del espectador.
A través de las imágenes, emergen los recuerdos removidos y reaparece lo que había sido sepultado en lo más profundo del sujeto. La experimentación de lo ominoso se
hace entonces ineludible y sitúa al individuo al borde del abismo donde habitan los temores y los deseos que conforman su interior.
Fotografía y siniestro nacen y se expanden de forma paralela; su relación se presenta, de este modo, como una interesante clave de lectura apta para entender la contemporaneidad y exhortar al sujeto hacia nuevas formas de aproximación a su propia realidad.This 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.
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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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