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Belknap, Geoffrey David. "'From a photograph' : photography and the periodical print press 1870-1890." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609850.
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Downs, J. "Ministers of 'the Black Art' : the engagement of British clergy with photography, 1839-1914." Thesis, University of Exeter, 2019. http://hdl.handle.net/10871/35917.
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This thesis examines the work of ordained clergymen, of all denominations, who were active photographers between 1839 and the beginning of World War One: its primary aim is to investigate the extent to which a relationship existed between the religious culture of the individual clergyman and the nature of his photographic activities. Ministers of 'the Black Art' makes a significant intervention in the study of the history of photography by addressing a major weakness in existing work. Taking an interdisciplinary approach, the research draws on a wide range of primary and secondary sources such as printed books, sermons, religious pamphlets, parish and missionary newsletters, manuscript diaries, correspondence, notebooks, biographies and works of church history, as well as visual materials including original glass plate negatives, paper prints and lantern slides held in archival collections, postcards, camera catalogues, photographic ephemera and photographically-illustrated books. Through close readings of both textual and visual sources, my thesis argues that factors such as religious denomination, theological opinion and cultural identity helped to influence not only the photographs taken by these clergymen, but also the way in which these photographs were created and used. Conversely, patterns also emerge that provide insights into how different clergymen integrated their photographic activities within their wider religious life and pastoral duties. The relationship between religious culture and photographic aesthetics explored in my thesis contributes to a number of key questions in Victorian Studies, including the tension between clergy and professional scientists as they struggled over claims to authority, participation in debates about rural traditions and church restoration, questions about moral truth and objectivity, as well as the distinctive experience and approaches of Roman Catholic clergy. The research thus demonstrates the range of applications of clerical photography and the extent to which religious factors were significant. Almost 200 clergymen-photographers have been identified during this research, and biographical data is provided in an appendix. Ministers of the Black Art aims at filling a gap in scholarship caused by the absence of any substantial interdisciplinary research connecting the fields of photohistory and religious studies. While a few individual clergymen-photographers have been the subject of academic research - perhaps excessively in the case of Charles Dodgson - no attempt has been made to analyse their activities comprehensively. This thesis is therefore unique in both its far-ranging scope and the fact that the researcher has a background rooted in both theological studies and the history of photography. Ecclesiastical historians are generally as unfamiliar with the technical and aesthetic aspects of photography as photohistorians are with theological nuances and the complex variations of Victorian religious beliefs and practices. This thesis attempts to bridge this gulf, making novel connections between hitherto disparate fields of study. By bringing these religious factors to the foreground, a more nuanced understanding of Victorian visual culture emerges; by taking an independent line away from both the canonical historiography of photography and more recent approaches that depict photography as a means of social control and surveillance, this research will stimulate further discussion about how photography operates on the boundaries between private and public, amateur and professional, material and spiritual.
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Hatfield, Philip John. "Colonial copyright and the photographic image : Canada in the frame." Thesis, Royal Holloway, University of London, 2011. http://repository.royalholloway.ac.uk/items/bd29e8fa-4880-f95d-24ea-53198345eb7f/8/.
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Under Colonial Copyright Law, the British Museum Library acquired a substantial collection of Canadian photographs between 1895 and 1924, taken by a variety ofamateurs and professionals across Canada. Due to the agency of individual photographers, the requirements of copyright legislation and the accumulating principleof the archive, the Collection displays multiple geographies and invites variousinterpretations. Chapter 1 discusses the development of Colonial Copyright Law and its application to photographic works, examining the extent to which the collection was born of an essentially colonial geography of knowledge. The chapter outlines the theoretical underpinnings of the thesis in relation to scholarship on colonial regulation, visual economies and Canadian historical geography. Chapter 2 presents an overview of the evolution of the Collection and provides a discussion of research strategy, focussing on how its diverse contents may inform understandings of Canada's changing landscape, cities and people. The substantive core of the thesis examines the contents and genres represented in the collection through a series of linked studies. Chapter 3 considers the photographic representation of Canadian cities, focussing on the use of the camera in Victoria and Toronto to explore the political and commercial aspects of urban change. Chapter 4 explores the interaction of the camera and the railroads, two technologies at the cutting edge of modernity, examining how photography both promoted the railway and depicted the impact of railway disasters. Chapter 5 explores the visual economy of the photographic image through the medium of the postcard, with reference to the Canadian National Exhibition and the Bishop Barker Company of aviators. Chapter 6 considers a variety of views of Native American peoples, the result of the intersection of various photographic impulses with Colonial Copyright Law. The final chapter returns to the Collection as a whole to consider its agency in the digital age.
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Tomas, David. "An ethnography of the eye : authority, observation and photography in the context of British anthropology 1839-1900." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75671.
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Anthropological classics such as E. H. Man's On the Aboriginal Inhabitants of the Andaman Islands (1883) and A. R. Radcliffe-Brown's The Andaman Islanders (1922) are generally regarded as products of an emergent nineteenth century social science. These anthropological classics were accepted by contemporaries as authoritative statements in their authors' fields of competence, and the ethnographic 'pictures' of the aborigines they presented were accepted as accurate descriptions of indigenous life. The following thesis argues for an alternative approach to the history of the production of anthropological knowledge. It begins by exploring the gradual codification of observational practices in the nineteenth century British anthropology. The codification of ethnographic observation is examined in the case of anthropological manuals published between 1840 and 1892, and their methodological impact on the possibilities of data collection are discussed. Ethnographic observation is then approached from the point of view of media use, and the relationship between drawing and photography is discussed in relation to nineteenth century physical and cultural anthropology. The codification of ethnographic observation and the anthropological use of various representational media are the problematic for an intensive exploration of the production of anthropological knowledge in the Andaman Islands. The approach adopted focuses on unacknowledged strategies and marginalized knowledge which were nevertheless directly implicated in the production of ethnographic texts. Following this approach, the discipline of Anthropology comes to seem less an isolated intellectual activity, and more a residue of broad social, cultural, and political processes. Drawing on this perspective, the works of Man and Radcliffe-Brown on the Andaman Islanders are treated as the culmination of a history of representation that is built on and incorporates administrative strategies, representational media and s
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Atkinson, Elizabeth Susan. "The formative years : the evolution of photography's role in British periodical advertising during the 1920's and 1930's." Thesis, Royal College of Art, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295775.
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Worman, Sarah E. Ms. ""Mirror With a Memory": Photography as Metaphor and Material Object in Victorian Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu149151628521588.
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Dahmani, Taous Rose. "Faire scène : stratégies d'émergence et d'institutionnalisation des photographes noirs britanniques dans la longue décennie 80." Electronic Thesis or Diss., Paris 1, 2023. http://www.theses.fr/2023PA01H082.
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Durant la décennie 1980, des photographes non-blancs et des femmes photographes Noirs imaginent des formes d’opposition à un milieu qui les ignore obstinément. Individuellement et collectivement, les photographes Noirs se confrontent aux multiples dénégations au moyen de gestes de résistance. Ensemble, mais seuls, ils vont faire scène. Instigateurs d’une multitude d’actes, ils deviennent agents de leur réalisation en tant qu’artistes-photographes. La scène produit un empouvoirement et l’empouvoirement façonne la scène. Cette thèse raconte les stratégies mises en place pour défier le statu quo. Cette thèse propose ainsi d’analyser la formation de cette scène à travers deux gestes fondamentaux : la publication (première partie) et l’exposition (deuxième partie). Dans un premier temps, l’étude des objets imprimés révèlent les mécanismes d’exclusion et d’inclusion de ces individus et indique leur rôle essentiel à la rencontre, aux échanges, à l’expérimentation, au débat, à l’élaboration théorique et la monstration des productions. À cet effet, nous examinons trois magazines de photographes : Camerawork, Ten.8 et Polareyes ; et commentons l’absence de livres de photographes. Dans un deuxième temps, l’étude de la nécessité de montrer son travail sur des cimaises, à travers des expositions, nous permet d’identifier une attitude du « faire soi-même » où les artistes deviennent commissaires et coordinateurs d’espaces de monstration. La thèse se termine sur l’institutionnalisation de la scène à travers l’analyse de l’évolution de l’Association des Photographes Noirs vers la création d’une organisation, Autograph ABP. À travers ces deux axes principaux, cette thèse appréhende l’émergence d’une scène malgré une société qui s’oppose à elle et fait le récit de sa lente inclusion dans le monde de la photographie britannique de la seconde moitié du XXe siècleDuring the long 1980s, non-white photographers and Black women photographers imagined forms of opposition to a milieu that consistently ignored them. Individually and collectively, Black photographers challenged continual denial with gestures of resistance. Together, and on their own they made their scene. Instigators of a multitude of acts, they became the agents of their being recognised as artist-photographers. The scene produced an empowerment which in turn shaped that scene. This thesis recounts the strategies they put in place to challenge the status quo. The creation of this scene occurred through two fundamental axes: firstly publications; and secondly exhibitions. In the first place, the study of printed matter reveals the mechanisms of exclusion and inclusion of these individuals, and indicates their essential role in encounters, exchanges, experimentation, debate, theoretical elaboration and the display of visual productions. To this end, we examine three photographers' magazines: Camerawork, Ten.8 and Polareyes; and comment on the absence of photographers' books. In the second place, our study of the need to show work on walls, through exhibitions, enables us to identify a "Do It-Yourself" attitude in which artists become curators and coordinators of spaces. The thesis concludes on the institutionalization of the scene through the history of the Association of Black Photographers as an organization. Our pivot is the emergence of a scene despite a society opposed to it, and tells the story of its slow inclusion in the world of British photography in the second half of the 20th century
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Brinsford, Julian. "Citizens of the secret machine : elements towards a Bakhtinian history of photographic representations of the British working classes in the twentieth century." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360577.
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Hacking, Juliet Louise. "Photography personified : art and identity in British photography 1857-1869." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266787.
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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Ryan, James. "Photography, geography and Empire, 1840-1914." Thesis, Royal Holloway, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262032.
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This thesis considers the relationships between photography and geography in the wider context of British imperialism, c. 1840-1914. It distisses reproductions of sixty photographs. Chapter one situates this research within current theoretical debates concerning the histories of photography, geography and British imperialism. It also discusses the sources used, and provides a detailed outline of the thesis. Chapter two considers the photographic representation of landscape on geographical expeditions, particularly scientific expeditions in central Africa and the travels of commercial photographers in northern India. Chapter three focuses on the role of photography within military campaigns. A detailed discussion of the Abyssinian campaign (1867-8) reveals how photography and geography were associated in imperial campaigning. Chapter four traces the language and imagery of 'photographic-hunting'. A discussion of practices of hunting, exploration and conservation, particularly in Africa, shows how photography was a means of representing the imperial domination of the natural world. Chapter five explores the photographic survey and classification of 'racial types'. It situates the associated uses of photography in anthropology and geography within the context of Victorian scientific ideas on race, both within the empire and in Britain itself. Chapter six discusses the relationship between the representation of racial 'types' abroad and the social 'others' of Victorian London. It presents a case study of the work of the professional photographer John Thomson, placing his work in China and London in the context of his ethnological and geographical interests. Chapter seven explores Halford Mackinder's work with the Colonial Office Visual Instruction Committee, 1902-1911. It shows how photography was used to promote an imperial vision of geography, but raises also questions as to its ultimate impact. Chapter eight provides a conclusion which argues that photography was central to the construction of imaginative geographies of empire in the period 1840-1914 and suggests that, through photography, such geographies continue to be reproduced today
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Kershen, Anne. "British Jewish history within the framework of British history 1840-1995." Thesis, Middlesex University, 1997. http://eprints.mdx.ac.uk/11157/.
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This essay is a context statement in critical defence of my submission for the degree of Ph.D by Published Works in keeping with the requirements of MIddlesex University as laid down in the Guidance Notes dated April 1996. The underlying theme of the submission is that my published works serve to illustrate my belief that it is imperative to locate British Jewish history within the broader framework of British history. Thus, I have not limited my research and writing to one issue, event or section of British Jewish society, rather I have sought to develop a historiographical style which exemplifies the way in which individuals, groups and events, within and beyond the framework of Anglo-Jewry, interface and interact. Historical phenomena do not occur in a vacuum and it is imperative to understand what is taking place beyond the perimeters of ethinicity in order to fully comprehend both immigrant and receiving societies' actions and responses. In my most recent works I have taken this one stage further with the recognition that, in what is increasingly a multi-ethnic society, it is vital both to locate British Jewish history within that of the wider British immigrant/settler experience and to see it as a constituent of specific communities in order that comparisons and contrasts can be made and, where possible, lessons learnt.
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Parry, Katy Jane. "Visually framing the 2003 Iraq invasion in British press photography." Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526844.
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Kingsley, Hope. "Crosscurrents of aesthetics and technology in nineteenth century British photography." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398428.
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Hauser, Kitty. "Shadow sites : photography, archaeology, and the British landscape 1927-1955 /." Oxford ; New york : Oxford university press, 2007. http://catalogue.bnf.fr/ark:/12148/cb411636232.
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Baird, Jaime. "Looking at Ethiopia history, photography, and power /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011902.
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Lai, Kin-keung Edwin, and 黎健強. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.
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Ennis, Emily Siobhan Behan. "Capturing the image : writing and photography in British literary culture, 1880-1920." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16176/.
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This dissertation explores the developing relationship between British literary culture and photography between 1880 and 1920. I argue that popular photography and British writing co-evolved during this period, primarily as a result of increasing mass dissemination of both media. The jointly-developing literary and photographic marketplaces were perceived by many writers, including Thomas Hardy, as a threat to the position of the author since both photography and cheap serial publications aimed to capture the image of everyday lives of everyday people, a position previously and supposedly held by British writers. I propose that authors were forced to redefine both their professional identities and their writing style. In order to argue this, I focus on four authors, who, despite their stylistic differences, contribute in meaningful ways to the conceptualisation of British literary culture in the wake of photography’s popularisation. These authors are Thomas Hardy, Bram Stoker, Joseph Conrad, and Virginia Woolf. As a new generation of writers they confronted photographic images in their private lives, and often their professional lives through their portraits as literary celebrities. I include non-fiction prose by each author – essays, correspondence, journal entries, and (auto)biography – in order to demonstrate how their encounters with real photographs shaped their literary and imaginative engagement with them. The fiction which I discuss in this dissertation is not ostensibly about photography, nor does it include photographs. Rather, such texts contain ekphrastic accounts of photographs, which examine the limits of representation itself. I propose that it is the personal and material relationships each author has with photographs that transform their representations of photographic images within their fiction. The variety in styles of prose produced by this collection of authors demonstrates that photography was not simply a challenge to literary realists, but to literary culture in general.
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Delmas, Didier. "Why 1839? : the philosophy of vision and the invention of photography." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83176.
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1826 is the date attributed to the very first known photograph, Nicephore Niepce's "View from the Window at Gras." For traditional historians of photography this date marks the moment when the genius of man was finally able to merge the knowledge of chemistry with that of optics to create the most amazing technology of visual representation. However, those same historians recognize that the two essential components of photography---the camera and the properties of silver halides---had been known for centuries before the first photograph was ever taken.This thesis explores two fundamental questions: Why wasn't photography invented soon after its major technological components were discovered c. 1650? And why was it invented in the early decades of the nineteenth century c. 1830? This gap of some 200 years separating the feasibility of photography from its actualization has remained largely unexplained.
The answers to both questions is found by situating the genealogy of the invention of photography within the development of the Western philosophy of vision. The fact that photography was invented at the junction of the Classical and Modern epistemes offers a unique opportunity to approach the history of photography from the perspective of the history of thought. Hence this thesis takes its inspiration from the work of Michel Foucault and some of his followers---in particular Jonathan Crary and Geoffrey Batchen. The result of this radical shift from the technical to the intellectual environment allows the history of photography to transcend the narrow confines of technology and formal appearances. From a Foucauldian perspective I argue that photography was invented as a response to the epistemic instability experienced during the transition from the Enlightenment to Modernity.
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Dolce, Mark A. "History and Ethics of Electronic Manipulation in News Photography." Thesis, The University of Arizona, 1992. http://hdl.handle.net/10150/292188.
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Radtke, Robert Warren. "The British commercial community in Shanghai and British policy in China, 1925-1931." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315945.
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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Leister, Wiebke. "Unjoyful laughter and the non-likeness of photographic portraiture." Thesis, Royal College of Art, 2006. http://ualresearchonline.arts.ac.uk/13247/.
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This research investigates photographic portraits that can be considered as potentially non-mimetic images. It uses the portrait of laughter in theory and in practice to explore a ́non-like ́, iconic relation between a photograph and its model. In opposition to portraying a specific laughing sitter, here the photograph is more informed by what the viewer brings to his or her subjective encounter with that photograph. Among other subjects, my research compares portraiture to clownish performance. Hence, the photographic portrait shifts register, becoming less a likeness of the sitter, rather a portrait of the viewer ́s process of interpretation. As an extension of our understanding of the genre portraiture, I am using and testing the German term 'Bildnis', trying to find a clearer understanding of portraits that are Non-Likenesses. My main case study looks at 19th-century photographs by the French physician Duchenne de Boulogne. Duchenne researched emotional expressions by capturing the moving face twice: with medical electrization and with photography. Based on muscular contraction, he also established a theory distinguishing 'true' from 'false' laughter. Starting by isolating one photograph from the context of Duchenne ́s medical work as a leitmotif for my studies, considering it as an image in its own right, my research raises questions regarding the relation between model and photographer in photographic portraiture. It investigates what is commonly thought to be the Photographic – the photograph ́s referential status as an index in opposition to the meaning arising from its surface. In re-considering Duchenne ́s photograph within photographic histories, theories of representation aesthetics, and in relation to other photographs, I aim to lift his image out of its strictly utilitarian context as a record of an experiment. Expanding the discussion on its genres and applications, this change of context opens up a new emphasis on content and encourages its interpretation as an imaginary photograph. This claims to be not just image-informed, but also informed about the nature of images in general and photography in particular. Methodologically, the first part consists of a visual investigation into the depictibility of 'unjoyful' laughter as a 'non-like' photographic image. The second part re-stages the play of questions and answers arising from the studio practice by re-contextualizing them within a specific theoretical and historical framework of portraiture. Ultimately being two separate practices, both parts inform and reflect upon each other in approach and subject matter, deepening and widening an understanding of the medium of photography as a multi-faceted research tool.
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Adams, James Mack. "Tybee Island." Digital Commons @ East Tennessee State University, 2000. https://www.amzn.com/B01NANDHB1/.
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Tybee Island is a tiny piece of land, only-two-and-a-half miles long and two-thirds of a mile wide; however, its strategic location near the mouth of the Savannah River assigned to it an important role in the birth and history of the state of Georgia. Over this coastal community five flags have flown, representing Spain, France, England, the Confederate States of America, and the United States of America. Using numerous vintage photographs from the archives of the Tybee Island Historical Society, Tybee Island guides the reader through over two hundred years of history. Although much of its history is linked to nearby Savannah, Tybee is singular among Georgia’s coastal islands, and has a history and lore that is uniquely its own. This visual journey begins with the building of Georgia’s oldest and tallest lighthouse, and continues through Tybee’s involvement in the Civil War. Also covered are the island’s later roles as a military installation, a popular coastal resort, and a residential community. Vintage photographs recall earlier days on Tybee, when the island was known as “Ocean City,” “Savannah Beach,” and, to some, “the best kept secret on the East Coast.”https://dc.etsu.edu/alumni_books/1029/thumbnail.jpg
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Brothers, Caroline Ann. "French and British press photography of the Spanish Civil War : ideology, iconography, mentalité." Thesis, University College London (University of London), 1991. http://discovery.ucl.ac.uk/1382596/.
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This thesis has aimed to investigate the value of photographs to the study of history. It argues that photographs, as "witnesses in spite of themselves," constitute a rich source of historical evidence, providing direct insight not into their ostensible subjects so much as the particular ideological and cultural cast of the society in which they function. It argues that a society's common attitudes and beliefs are present in photographs in a way they are not in more literal discourse, and that the study of photographs offers the historian privileged access to that society's perceptual framework. In proposing as its case-study the relationship between war and photography during the Spanish Civil War, this thesis has examined 3,000 photographs printed in six French and six British illustrated publications across the political spectrum. It has focused most intensely upon the months between July and December 1936 as the period of most concentrated propagandist activity, but includes two particularly valuable publications from 1938-39. It has explored a number of critical theories in analysing these images, drawing chiefly upon structuralism, semiology and the hisroire des mentalités. This thesis concludes that the photographs examined in the French and British press often had little beyond fortuity to do with the conflict in Spain. Instead, these images hollowed out the specificity of Spain and filled it with assumptions particular to 1930s Britain and France concerning issues such as soldiering, gender, urban and social life, and mortality. Although each image was mobilised in the interests of propaganda, like all photographs their meaning was nevertheless dependent upon the cultural assumptions outside them to which they referred, and was determined by their context and use. This thesis thus concludes that photographs are replete with information about the collective imagination of the society in which they have currency and can thereby offer the historian a specific means of recovering the past.
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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
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Chang, Ning Jeniffer. "Sino-British relations during 1910-30 : a case study of British business in Hankow." Thesis, University of Cambridge, 1994. https://www.repository.cam.ac.uk/handle/1810/251913.
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Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.
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Art HistoryPh.D.
This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank’s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank’s commentary on postwar America during his cross-country road trip—the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha’s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander’s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank’s snapshot. Shore’s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore’s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore’s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans’s and Frank’s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie’s Freeway Series, 1994–1995; Andrew Bush’s Vector Portraits, 1989–1997; Martha Rosler’s The Rights of Passage, 1995; and Amy Stein’s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.
Temple University--Theses
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Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.
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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photographythe second to theinteraction between architectural photography and architectural theory/practice
and the third to the relation between architectural photography and architectural historiography.
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Hammond, Mary Sayer. "The camera obscura : a chapter in the pre-history of photography /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487322984314364.
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Fair, Alistair James. "British theatres, 1926-1991 : an architectural history." Thesis, University of Cambridge, 2008. https://www.repository.cam.ac.uk/handle/1810/252094.
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This dissertation explores how changing ideas of dramatic performance and of theatre’s place in society have been given built form by reference to twelve British theatres from the period 1926-1991. Hitherto, theatres have often been relegated to the margins of architectural history, but their buildings fulfil important functional and symbolic roles in responding to the complex needs, aspirations, and aesthetic ideas of their users. Chapter One discusses three inter-war theatres which were all intended to be somehow ‘modern’. It shows that this concept was interpreted in different ways by reference to the Festival Theatre, Cambridge (1926); the New Victoria, London (1930); and the Shakespeare Memorial Theatre, Stratford-upon-Avon (1932). The main part of the study is concerned with six examples of the post-war subsidised theatre boom: the Belgrade, Coventry (1958); the Nottingham Playhouse (1963); the Yvonne Arnaud, Guildford (1965); the Thorndike, Leatherhead (1969); the Crucible, Sheffield (1971); and the Barbican, London (1968-1982). Chapter Two argues that a self-consciously ‘modern’ architecture was deployed in order to express the desire for these theatres to reflect new ideas of their conception and purpose. Chapter Three examines the attempts in this period to escape the established proscenium-arch auditorium in the interests of modernity and as a way of responding to film and television. Chapter Four recognises that theatres with proscenium-arch and similar auditoria nonetheless continued to be built. It explores why this was the case. Chapter Five considers two theatres created in converted spaces: the Tricycle, Kilburn (1980) and the Almeida, Islington (1984), discussing how their architecture asserted itself to make a deliberate contribution to the theatregoing and performance experiences. In Chapter Six, the example of the Lyceum Theatre, Sheffield, (reopened in 1990) acts as a lens through which to consider the late-twentieth century trend to restore Victorian and Edwardian theatres.
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Bekar, Clifford Thomas. "Two productivity puzzles in British economic history." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0027/NQ51841.pdf.
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Kay, William Kilbourne. "A history of British Assemblies of God." Thesis, University of Nottingham, 1989. http://eprints.nottingham.ac.uk/13082/.
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There are two main historical works on Assemblies of God in Britain. The first is Donald Gee's Wind and Flame (originally published under the title The Pentecostal Movement in 1941; later revised and enlarged for publication in 1967). Gee was intimately involved in much of AoG's development not only in the British Isles but also overseas, There are, however, three things which Donald Gee fails to do and which I decided to attempt in the history which follows. First, and very properly, Gee underestimates his own contribution to the shape of British pentecostalism. A natural modesty prevented Gee from seeing all the value of his own efforts. Second, Gee very rarely gives the source of any information he cites. There is a complete absence of footnotes, references, printed materials and the like in his book. We simply do not know what and whom he consulted when he wrote. And, third, Gee fails to make any mention of the immense social and technological changes which took place in his life time. He gives us the foreground without the background, and yet the background was important. It matters, for example, that ordinary commercial air travel opened up after the 1939-45 war or that telephones became common in the 1950s. The Pentecostal movement did not develop in a vacuum and sometimes successful events are explicable by reference to forgotten factors. For example, the success of the great Stephen Jeffreys crusades makes more sense when one knows that, at one stage, he moved from town to town, each within easy travelling distance of the others; this allowed those who had been attracted by one set of meetings to travel to the next. Or that these crusades took place when the national health service in Britain did not exist and people were more desperate in their search for healing. The second main work is Walter Hollenweger's The Pentecostals (SCM, 1972). This sets British pentecostalism in a world wide context and allows comparisons with Pentecostal churches in Latin America, Canada, Australia, New Zealand, the Continent and North America. Inevitably, therefore, Hollenweger's book paints on a broad canvas and omits many events within British Assemblies of God. At the end of this thesis a list is given of all the people I interviewed or consulted by phone. Not listed, however, because references are given at appropriate places in the text or notes, are the various documents which became available to me. These included letters, handbills, newspaper cuttings, minute books, diaries, reports submitted to the General Conference, accounts, short-lived magazines and, of course, all the volumes of Redemption Tidings. Undoubtedly Redemption Tidings proved to be the richest source of information. It was published continuously from 1924-85 and contained a whole variety of articles, crusade reports, letters, editorials, stenographically recorded sermons, advertisements and the like which, more than any other single source, recreate early pentecostalism. Redemption Tidings was published monthly 1924-33 and then fortnightly 1934-1956 and weekly 1956-1985. So far as the ordering of the following history is concerned, I have simply moved forward decade by decade and with little attempt to group subjects together thematically. This rather unimaginative approach has the virtue of being systematic and it was used by Adrian Hastings in his excellent A History of English Christianity: 1920-1985 (Collins, 1986). At the start of each major section, I have briefly outlined the economic and political events of the era. At the end of each major section, I have paused for sociological comment. These comments are not intended to be exhaustive. Rather, I have used some of the tools and concepts of sociology to illuminate the historical development previously described. Alternation between description and analytic comment is slightly clumsy, but seemed to be the only sensible way of handling the overall task. The events of Pentecostal history are simply not well enough known to take them for granted: they need to be described first. Any attempt to describe them while simultaneously analysing them would have proved confusing in the extreme. It is also necessary to point out that this history pays particular attention to Pentecostalism in Britain and only mentions missionary work overseas to the extent that this it is relevant to what was happening in Britain. In some respects this is unfortunate, but to do justice to the extraordinary work of men and women in various continents of the world would require a separate study of comparable length.
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Blake, L. J. "An oral history of British food activism." Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/21655/.
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This thesis is based on seventeen oral history life story interviews with key members of a variety of food activist movements in Britain. A collaborative project with the British Library, the recorded interviews subsequently comprised a public archive on food activism in the oral history collections. The food activist movements cover a wide range of issues, from fair trade, animal welfare and anti-GM, to organic agriculture, community urban farms, nutrition, public health and waste. Through the oral history method, a number of themes relating to food activism are explored. These include, the relationship between food, politics and identity; the dynamics of motivation and emotions, such as optimism and positivity, in activism; the role of image, both personal and organisational, in furthering the cause; and the tensions between alternative and mainstream approaches to food systems change. The thesis contributes to literatures in food geographies, food activism and policy, social movements and oral history life story.
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Willis, Anne-Marie. "Writing photographic history in Australia : towards a critical account." Thesis, The University of Sydney, 1986. https://hdl.handle.net/2123/28611.
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This thesis presents a critical framework for historically considering photography in Australia from the 1840s to the 1970s. The approach adopted is to critically map the currently constituted field of photographic history by taking the existing accounts of photography in Australia and the key issues of photographic history as a series of starting points. These are presented, then interrogated by setting them into new evaluative contexts.
The basic claim of the thesis, presented in the Introduction, is for the necessity of considering and recognising the constitution of photography in the broadest possible terms, and of addressing "the photographic" as it is located at, and formed within, a diversity of social, economic and cultural sites.
Prior to the activity of writing a critical photographic history which maps developments in Australia, photographic history writing itself is problematised. This is proposed in the Introduction and developed in Chapter One, which presents a survey and critical assessment of the different modes, to date, by which photographic history has been produced in Australia.
Chapters Two to Ten historically substantiate the main argument of the thesis by presenting a selective, contextualised and chronological account of photography in Australia. The medium is considered as a professional and amateur practice which intersects with and is deployed by a range of institutions and discourses including those of science, the popular press, the instruments of the state and the aesthetically validated spheres of the visual.
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Swensen, James R. "The Rephotographic Survey Project (19770-1979) and the Landscape of Photography." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194916.
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In 1976 two young photographers, Mark Klett and JoAnn Verburg, and a photo-historian named Ellen Manchester came together with an idea to rephotograph sites in the American West that had originally been documented by survey photographers such as William Henry Jackson and Timothy O'Sullivan. By the spring of 1977 and with the support of various organizations they began a project that spanned the next three years and would eventually become known as the Rephotographic Survey Project (RSP). In many ways, the RSP represents an important moment in the history of photography and the representation of the American West. Through analysis of their work, archival documents, contemporary sources, and interviews with the original members of the RSP and several others, this dissertation examines the activities of the project and its various members, which also included Gordon Bushaw and Rick Dingus. More than the RSP, this dissertation also focuses on the growing culture of photography that boomed in the 1970s. Photography was no longer seen as an outsider to the world of art but was benefiting from newfound opportunities and growth. Without such a culture, this work argues, it would not have been possible for the RSP to take place. By the end of their project, however, photography was undergoing another important transition as modernism was giving way to the more critical climate of postmodernism. When the RSP finally published their work In 1984, their project and the community of photography that fostered their ideas was undergoing profound changes. This study also closely examines the RSP's fieldwork in the American West and the various discourses that the project encountered in this meaningful space. Like photography, the West was undergoing significant changes that the RSP was able to observe and document. Through their process that matched images from the past with photographs of their present, the RSP was able to record diverse landscapes that had or had not changed over the subsequent century. Furthermore, it also provided insight into the ways in which the West had been represented and perceived over time and in a new history of the West.
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Napier, Ellen Bethany. "Thomas Struth's Museum Photographs and the Textual Experience of Photography." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364223682.
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Moschovi, Alexandra. "The neglect and accommodation of photography in British art institutions in the postmodern era." Thesis, Courtauld Institute of Art (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411049.
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Birkhofer, Melissa Dee DeGuzmán María. "Voicing a lost history through photography in Hispaniola's diasporic literature." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1038.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Master in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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COSTA, AMANDA DANELLI. "IMPRESSIONS ON IMAGES: HISTORY MEMORY AND AUGUSTO MALTA CARIOCA PHOTOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11419@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A presente dissertação busca aproximar memória e fotografia, bem como o ato de fotografar do ato de historiar. A partir daí, se volta para a proposta específica de analisar um grupo de fotografias que Augusto Malta fez das ruas da cidade do Rio de Janeiro no início do século XX. Já no século XIX foi atribuída aos fotógrafos a função de registradores de um mundo que se dissipava e de outro que se anunciava. Esses profissionais eram contratados como os responsáveis por guardarem as imagens que se transformavam rapidamente, especialmente nas cidades. Tratava-se de um desejo de construir um álbum que conservasse a memória do antes, do durante e do depois, e que servisse de registro confiável das mudanças promovidas. Esta é a função que Augusto César Malta de Campos assumiu na prefeitura da cidade-capital, comandada por Francisco Pereira Passos. É através desse caminho que se busca analisar a fotografia como artifício capaz de inventariar as transformações da cidade, uma representação fiel do mundo visível. Assim, as imagens dos Kiosques, dentre outras tantas, se tornaram instrumentos com valor de prova a serviço de um projeto modernizador da cidade-capital, numa íntima relação com a mobilização nacional em torno de uma identidade moderna que se forjava naquele tempo.
This work tries to approximate memory and photography, and at the same time the act of make photography and act of writing history. Then the work persecutes the propose of analyze a group of four photos that Augusto Malta made in the streets of Rio de Janeiro in the beginning of the 20th century. In the 19th century was given to the photographers the function of recorders of a world passing through many changes. Those professionals were hired as the responsibles to keep the images that were changing quickly, especially in the cities. There was a desire to build an album dedicated to the memory of times, and prove of the changes in the world. This was the work that Augusto Malta did for the mayor Pereira Passos. Through this way the photography is analyzed as a faithful representation of the visible world. The Kiosque s images became a prove to the project of modernization of the city, in a relation to the national mobilization around a modern identity.
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Cooper, Elena Sophia Christina. "Art, photography, copyright : a history of photographic copyright, 1850-1911." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/283882.
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Crow, Robert. "Reputations made and lost : the writing of histories of early twentieth-century British photography and the case of Walter Benington." Thesis, University of Gloucestershire, 2016. http://eprints.glos.ac.uk/2996/.
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Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. As a result, the work of key photographers such as Walter Benington is now virtually unknown. Benington’s central involvement with the Linked Ring and his national and international exhibition successes demonstrate his significance within post-1890 British photography. Recent moves in the writing of histories of photography have called for the exploration of previously unknown archives and collections. A detailed examination of a cross-section of Benington’s work will illustrate that he was a photographer of great distinction and marked individuality fully worthy of a major reappraisal.
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Zhu, Christine. "Rejecting the front row| Guy Marineau and the evolution of runway photography." Thesis, Fashion Institute of Technology, SUNY, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1603005.
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This paper is a review and discussion of the career of French runway photographer, Guy Marineau. It specifically explores his tenure at Fairchild Publications between the years 1975-1985, contextualized by his personal experience and the history of the fashion show. Prior to shooting the runway, Marineau photographed conflicts in Portugal and Israel. Traumatized by war, Marineau, decided to realign his career towards capturing beauty.
Fashion shows emerged around the turn of the century, and press coverage of them has been long fraught with complications due to the threat of copyists reproducing unlicensed designs. During the mid-1950s John Fairchild tirelessly challenged the strict embargo set by the Chambre Syndicale that restricted the immediate release of images taken at couture shows. Yet by the 1960s, the demise of the haute couture was imminent, and couturiers resorted to licensing to keep their houses afloat, which in turn, reestablished their relationship with the press.
Since his start at Fairchild Publications, Marineau approached runway photography through the eyes of a war photographer. Marineau's work improved vastly as he grasped how to shoot fashion shows and was one of the first to challenge the established protocol by leaving his editor for the end of the runway. His photographs kept pace alongside his continuously evolving subject, the fashion show, and with advancements to camera technology. Relatively unknown, Marineau's work remains an undiscovered wealth of fashion history. His photographs are a testament to the once-diverse genre of runway photography that is slowly being replaced by the standardized runway photographs now linked with fashion websites.
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DeÌ, Bikramjit. "British policy in Bengal, 1939-1954." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249285.
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Roeckell, Lelia M. "British interests in Texas 1825-1846." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357534.
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Oldcorn, Megan Lowena. "Falmouth and the British Maritime Empire." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/13354/.
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At the beginning of the nineteenth century, the Cornish port of Falmouth was an important base within an ever-expanding British empire. From here, people, letters, goods and information travelled back and forth from Cornwall to the rest of the world. This thesis investigates the extent to which Falmouth was a significant part of Britain’s maritime empire during the period 1800-1850, looking specifically at four areas of interest. First, it argues that Falmouth’s Packet Service played a significant role in intelligence gathering during the Napoleonic Wars, victory in which led to major expansion of the British empire. Second, that the town developed Cornwall’s mining expertise to the extent that it could be exported to new colonies, or become instrumental in spreading the influence of informal empire. Third, that the import of plant specimens from the colonies had a direct effect on class-based hierarchies of power in and around the town. And finally, that contact between the British and foreigners in and from the port led to renegotiations of identity based on race that were inextricably tied into colonialism. The role of Cornwall in the dialogue between Britain and its colonies, and the importance of Falmouth as a port within the British empire, have previously been neglected in academic study, with attention given to larger metropolitan locations such as Liverpool and Southampton. This thesis continues work exploring imperialism within one specific locality, shifting in focus from the urban to the rural. In doing this, a diversity of written and archival sources are used to discuss how several elements of empire came together in one place. The work demonstrates that Falmouth was a site clearly affected by colonialism, and was to a certain extent influential within it due to its maritime significance.
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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.
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Wu, Shuang. "British Press Coverage of Nazi Antisemitism, 1933 - 1938." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531941751035663.
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Laurence-Allen, Antonia. "Class, consumption and currency : commercial photography in mid-Victorian Scotland." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3469.
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This thesis examines a thirty year span in the history of Scottish photography, focusing on the rise of the commercial studio from 1851 to assess how images were produced and consumed by the middle class in the mid-Victorian period. Using extensive archival material and a range of theoretical approaches, the research explores how photography was displayed, circulated, exploited and discussed in Scotland during its nascent years as a commodity. In doing so, it is unlike previous studies on Scottish photography that have not attended to the history of the medium as it is seen through exhibitions or the national journals, but instead have concentrated on explicating how an individual photographer or singular set of images are evidence of excellence in the field. While this thesis pays close attention to individual projects and studios, it does so to illuminate how photography functioned as a material object that equally shaped and was shaped by ideological constructs peculiar to mid-Victorian life in Scotland. It does not highlight particular photographers or works in order to elevate their standing in the history of photography but, rather, to show how they can be used as examples of a class phenomenon and provide an analytical frame for elucidating the cultural impact of commercial photography. Therefore, while the first two chapters provide a panoramic view of how photography was introduced to the Scottish middle class and how commercial photographers initially visualized Scotland, the second section is comprised of three ‘case studies' that show how the subject of the city, the landscape and the portrait were turned into objects of cultural consumption. This allows for a re-appraisal of photographs produced in Scotland during this era to suggest the impact of photography's products and processes was as vital as its visual content.
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Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.
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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also presents my inspiration for the project and explains how those sources have influenced my images.