Relevant bibliographies by topics / Latin american photography

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Latin american photography'

Author: Grafiati
Published: 15 February 2025

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Journal articles on the topic "Latin american photography"

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Rincón García, Wifredo. "Images of the New World. Iberoamerican Art in the CSIC Photography Archive." Culture & History Digital Journal 6, no. 2 (November 29, 2017): 020. http://dx.doi.org/10.3989/chdj.2017.020.

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The “Tomás Navarro Tomás” Library in the CSIC keeps an important photographic collection on Ibero-American art granted by the historians Diego Angulo, Enrique Marco Dorta and Santiago Sebastián particularly interesting for the research on Art and Photography History in Latin America.
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Ranney, Edward. "Recent Latin American Photography Books." Latin American Research Review 26, no. 3 (1991): 235–46. http://dx.doi.org/10.1017/s0023879100024031.

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Hopkinson, Amanda. "‘Mediated Worlds’: Latin American Photography." Bulletin of Latin American Research 20, no. 4 (October 2001): 520–27. http://dx.doi.org/10.1111/1470-9856.00028.

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Scorer, James. "Photography and Latin American Ruins." Journal of Latin American Cultural Studies 26, no. 2 (April 3, 2017): 141–64. http://dx.doi.org/10.1080/13569325.2017.1309316.

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Duarte, German A., and Justin Michael Battin. "Latin America in Focus." Review of International American Studies 15, no. 2 (December 31, 2022): 19–23. http://dx.doi.org/10.31261/rias.14917.

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A key distinction of Review of International American Studies is its commitment to the notion that the Americas are a hemispheric and transoceanic communicating vessel. This angle provides a unique path to de-center the American Studies discipline, which has become tantamount to studies of the United States. This angle also expands the discipline beyond its traditional literary roots, inviting critical investigations into other forms of communicative media, such as cinema, television, and photography. Informed and inspired by this conceptualization of the discipline, this issue of RIAS is composed of several pieces specifically focused on Latin America, each of which employs a unique interpretive approach of visual media to, collectively and comprehensively, articulate how this multilayered cultural landscape manifests in our contemporary social imaginary. The arbitrary delineation of the globe through the notion of ‘the western world’ has, seemingly, transformed the Latin American continent a no man’s land. In its vast extension, this part of the planet seems condemned to exist between two worlds. Despite being part of the western hemisphere, and despite its deep Catholic tradition, this vast region is surprisingly excluded as a member of ‘the west.’ Yet, it was neither placed in ‘the east,’ nor on the other side of the wall, when the world was politically, culturally, and economically divided by the Iron Curtain. This land’s perpetual homelessness might be due to its consistent political instability, to the weakness of some of its democracies, or even its colonial past, one that bears no relation to the Commonwealth of Britain, a belonging that placed Australia in the topos of the West. These reasons, in addition to others, have fostered an understanding of Latin America as being generally alien to the ‘western world.’ Being a no man’s land, deprived of a hemisphere, and broadly unintelligible by the general imaginary of the western cultural industry, this continent, populated by almost 700-million people, was traditionally subjected to stereotypes formulated during the twentieth century, and that remained unchangeable in this new millennium. Latin America has become, for the global imaginary, a place of military juntas, a vast lowland displaying desertic features, a tropical yet savage jungle, a poverty-stricken favela, and a land fought over by romantic revolutionarios. Certainly, the question remains if the obsolete model ‘western world,’ the also obsolete ‘third world,’ or ‘periphery,’ and even the in vogue ‘global south’ would be able to embrace and reproduce a closer image of this heterogenous and vast continent, and by extension if this generalization is able to denote a set of multiple series of social diversities. We doubt it. This doubt encouraged us to gather diverse scholars from diverse academic disciplines to contribute to this issue of Review of International American Studies. And this doubt, which was at a first glance only intuitive, brough us to avoid the topic of identity and representation as the main theme for this journal’s issue. Our initial plan was to structure the series of contributions on some problematics relating to the photographic medium, a medium that is widely regarded as exerting an objective representation of reality, yet also places the pictorial representation on an undetermined semiotic field. The choice of photography was also a choice of intuition that we quickly abandoned since, in our twenty-first century mediascape, photography represents only one element of a fast and global visual stream that shapes and refashions the collective imaginary of the Latin American continent. Thus, we expanded our scope to include other media such as films, paintings, and any visual-oriented human expression that could provide insights on the complex and chaotic mechanism that formulates and constructs the imaginary on the turbulent entity that we call society.
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Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.

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In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enacting agency in Bolivia and Latin American more broadly.
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Beezley, William H. "Images of History: Nineteenth and Twentieth Century Latin American Photography as DocumentsWindows on Latin America: Understanding Society Through Photographs." Hispanic American Historical Review 73, no. 1 (February 1, 1993): 133–34. http://dx.doi.org/10.1215/00182168-73.1.133.

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Marini, Candela. "War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)." Fotocinema. Revista científica de cine y fotografía, no. 22 (January 25, 2021): 49–74. http://dx.doi.org/10.24310/fotocinema.2021.vi22.11650.

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In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.
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Alvarez Velasco, Soledad, and Nicholas De Genova. "“A Mass Exodus in Rebellion” – The Migrant Caravans: A View from the Eyes of Honduran Journalist Inmer Gerardo Chévez." Studies in Social Justice 17, no. 1 (March 26, 2023): 28–47. http://dx.doi.org/10.26522/ssj.v17i1.4157.

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This article analyzes the migrant caravans as a strategy of resistance to the war against migrants in transit to the United States, exacerbated during the pandemic. This is the edited transcript of an interview conducted with Honduran journalist Inmer Gerardo Chevez, correspondent of Radio Progreso. Having travelled the Central American and Mexican routes accompanying on foot the transit of thousands of migrants since 2018, Chevez is a notable eyewitness and expert in situ of the Caravans. The interview confirms that the caravan has become one of the premier forms in which Latin American migrants, including agricultural workers, struggle and their spatial dispute with the heterogeneous border control regime of the Americas are materialized. The text also reflects on the role that photography and critical journalism can play in the face of the contemporary anti-migrant policy turn. We conclude with an interpretation of the effects that the militarized violence against Latin American migrants in transit to the United States is having across the region.
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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.
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Dissertations / Theses on the topic "Latin american photography"

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Mandrile, Ana Cecilia. "The translation of fragments : a dialogue between photography and displacement in the practice of selected Latin American emigrant artists." Thesis, University of the West of England, Bristol, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415877.

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Callen, Tara Ashmore. "Video Art and Photography in Creation of Autobiographical Narratives with Adolescent Girls Aging out of an Orphanage (Hogares de Ni?as) in Peru." Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10689108.

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This dissertation was designed using a qualitative research mode of inquiry that utilized a mixed methodology approach. This dissertation was an ethnographic narrative study tracking eight young women who were “aging out” or forced to leave their orphanage in Peru, where most of them had spent a majority of their lives. The study examined the way in which a collaborative art community could support the participants as they narrated their lives over a 16-month period of time through photojournaling and social media outlets.

This study relied upon interviews, on-site observations, personal journaling, and photographing, in addition to an overall thematic analysis of the output of each of the eight participants and two nuns. From these data, six key themes emerged concerning the outcomes of each young girl’s continuing life at the Hogar and their endeavors outside of the orphanage. The focal points of this study were community building via art making and building of personal aesthetic, community engagement, reflection on self-identity, cross-cultural art education, and shared experience via photo-art narratives and social media.

This research also examined the role of collaborative art experiences in helping these young women structure new identities and form collaborations with their peers designed to sustain them into their future lives. This dissertation studied not only the formation of singular identities but how these functioned within a collaborative identity that supported the young participants as they moved out of their orphanage and forward into the outside world.

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Jamett, Christian. "Análisis de la violencia (política, económica y social) en la fotografía documental en Chile y México entre los años 1980 y 1990 : un acercamiento semiótico." Electronic Thesis or Diss., Perpignan, 2024. http://www.theses.fr/2024PERP0035.

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L'objectif de cette thèse est d'analyser la violence dans les photographies des photojournalistes au Chili et au Mexique dans les années 1980 et 1990. La recherche portera sur quinze cas qui seront analysés d'un point de vue technique et sémiologique, sur la base du schéma esthétique de Luciano Nanni. La méthodologie utilisée est qualitative avec des généralités comparatives, afin d'aborder les deux types de cas, chiliens et mexicains, dans la recherche de l'analyse de la violence dans les photographies enregistrées dans le contexte chronologique susmentionné. La recherche considère un regard exhaustif sur la violence depuis le néolithique, détectant des faits de violence systématique, jusqu'à des faits contemporains tels que l'importance de l'image, de la photographie et des manières de l'interpréter dans l'antiquité, comme piliers pour la lecture actuelle des cas et l'interprétation en considérant la charge historique des faits visibles pour la société. L'interprétation sémiologique incorpore une analyse technique de la communication que les images nous fournissent éventuellement. La recherche n'est pas moins importante, étant donné qu'il existe peu de recherches dans ce domaine, soit parce qu'elles ont été menées séparément, soit parce qu'elles n'abordent pas spécifiquement le phénomène de la violence du point de vue de la visualité, Ces éléments deviennent donc prépondérants pour l'élaboration d'une catégorisation et d'une signification des cas présentés ici, en tant que facteurs déterminants pour comprendre pourquoi la violence a été enregistrée et les motivations que les photojournalistes chiliens et mexicains ont pu avoir pour le faire. A priori, on peut détecter que la réflexion personnelle sur les faits : l'injustice sociale, la polarisation socio-économique, comme la dictature civilo-militaire au Chili, ont été des déclencheurs pour la création d'images avec la charge personnelle de leurs auteurs, et il est également possible d'identifier des objectifs dissemblables et/ou dissemblables entre les deux
The objective of this thesis is to analyze violence in the photographs of photojournalists in Chile and Mexico in the years 1980 - 1990. The research will take fifteen cases that will be analyzed technically and semiologically, based on Luciano Nanni's aesthetic scheme. The methodology used was qualitative with comparative from generalities, as a way of approaching both types of cases, Chilean and Mexican, in the search for the analysis of violence in the photographs recorded in the chronological context mentioned above. The research considers an exhaustive look at violence from the Neolithic, detecting facts of systematic violence, to contemporary facts such as the importance of the image, photography and the ways of interpreting it in antiquity, as pillars for the current reading of the cases and the interpretation considering the historical load of the visible facts for society. The semiology interpretation, incorporates a technical analysis in post of the communication eventually delivered by the images, the research is of no lesser importance, since the scarce investigative heritage in this area, either because its treatment has been carried out separately or because it does not specifically address the phenomenon of violence, from the visuality, Thus, these elements become preponderant for the elaboration of a categorization and significance of the cases presented here, as determinants to understand why violence was recorded and to know the motivations that Chilean and Mexican photojournalists may have had to do so. A priori it can be detected that the personal reflection of the facts: social injustice, socioeconomic polarization, such as the civil-military dictatorship in Chile, were triggers for the creation of images with the personal charge of their authors, thus being able to identify dissimilar and/or dissimilar objectives between both
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Corp, Mathieu. "Des expériences du temps dans la photographie latino-americaine contemporaine." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA093/document.

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Les images exposées sous l’appellation de photographie latino-américaine varient selon les expositions où commissaires et critiques déterminent les critères qui légitiment la sélection et l’organisation des images. Seuls des partis pris curatoriaux semblent ainsi gouverner des choix dont les enjeux éthiques et esthétiques diffèrent et découper les expositions par des catégories thématiques et des textes exégétiques des œuvres où, depuis les années 1990, l’usage récurrent des termes « histoire », « mémoire » et « identité » contribue à attribuer des significations moins géographiques qu’historiques à l’adjectif latino-américain. Nous nous proposons de montrer comment des expériences du temps sont configurées par les artistes dans leurs images par bien des modalités plastiques, comment les images sont capables d’établir, depuis et en fonction du présent, des rapports avec le passé. Selon une approche sémantico-pragmatique, nous analysons les références employées dans les images et dans les textes pour mesurer les implications contextuelles des rapports temporels, tandis que les modalités plastiques qui les traduisent nous permettent d’en interpréter le sens
During an exhibition, images displayed under the rubric of Latin-American photography vary according to the criteria retained by both curators and critics who legitimate their selection as well as their organisation. Curatorial biases can on their own determine choices with changing ethical and aesthetic implications and thus influence the shape taken on by exhibitions according to the thematic categories retained and the textual commentaries proposed for works whose Latin-American meanings, ever since the 1990s, are less affected by geographical considerations than by historical ones. In this thesis, it is our intention to show, first, how artists, using a plethora of plastic means, impart shape and form to experiences of time and, second, how images, through and according to the present moment, can establish various relationships with the past. Enlisting a semantic-pragmatic approach, we analyse the references established by images and texts in order to measure the contextual implications borne by their temporal relations; at the same time, the plastic modalities given to these temporalities allow us to interpret their meaning
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Askam, Richard. "Memory, truth and justice: A contextualisation of the uses of photographs of the victims of state terrorism in Argentina, 1972-2012: Communicating an intersection of art, politics and history." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1339.

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Photographs of the victims of Argentine state terrorism from 1972 to 1983, and most prominently those of the detained-disappeared victims of the Proceso de Reorganización Nacional dictatorship (1976-1983), have had a significant role in elucidating the demands of human rights activists since the aftermath of the Trelew Massacre in 1972. In this thesis I examine the role of photographs of victims of state terrorism in the construction of unofficial, or counter, narratives critical of those produced by two dictatorships and by elected democratic administrations in the demand for truth and justice, and in the construction of social memory. I discuss how the photographs have operated during distinct historical periods and the threads that have emerged in response to the longer timeframe of state terrorism (1972-1983), in terms of what sociologist Daniel Feierstein (2011) calls explanatory frameworks. Feierstein’s term looks at how state terrorism has been approached in distinct political periods. Those explanations include war and genocide In order to answer the questions; how do bodies of photographs articulate and at times drive political and social debates regarding state repression in Argentina, and how are they used to frame an understanding of state violence during changing political conditions?, the study embeds the use of photographs by artists and activists within an extensive historical narrative constructed from the data retrieved from a number of key publications from the 1970s and 1980s and archival documents and photographs held by human rights organisations in Argentina. The study addresses significant gaps in existing scholarship. Much existing literature focuses on the Mothers of the Plaza de Mayo’s use of photographs of the detained-disappeared victims of the Proceso de Reorganización Nacional during that dictatorship. These analyses are dominated by the application of Barthesian photographic theory that rests on photography’s capacity to simultaneously represent absence and presence (Barthes, 1981; Longoni, 2010; Tandeciarz, 2006; Taylor, 2002). That period is one significant part of a longitudinal campaign conducted in Argentina from 1972. This thesis furthers the discussion, particularly in the examination of the continued use of photographs by one of the two factions of the organisation; the Mothers of the Plaza de Mayo: Founding Line, following the organisation’s 1986 split, and by an examination of the role of a small number of photographs of victims taken in a Clandestine Detention Centre (CDC). From the Proceso the use of photographs has been informed by the imposition of limits with respect to information on the fate of victims and by the demand for information on the victims. The small number of state produced photographs or repressive photographs (Sekula, 1986) emerged into the public realm in 1984 and formed part of the records produced for all victims held in Clandestine Detention Centres. Allan Sekula’s honorific and repressive photographic poles underpins my analysis of the importance of photographs during distinct political periods and their uses in art works, the legal arena, and in demonstrations. I examine how those repressive and honorific (Sekula, 1986) and disciplinary photographs (Tandeciarz, 2006) which originated in the family realm or non repressive state agencies have underpinned the pursuit of truth and justice. Only through an extensive examination do core aspects of the uses of photographs of victims of state terrorism emerge with clarity.
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Calderón, Natalia. "Technologie de l'appareil photographique en Amérique latine : entre prise de vue et prise de pouvoir." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080041.

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L’arrivée de l’appareil photographique en Amérique latine au XIX siècle doit être considérée comme une problématique d’ordre techno-politique et pas seulement comme l’arrivée d’un nou-veau mode de représentation qui vient s’ajouter aux anciens types d’images déjà présentes dans le Nouveau Continent. À l’opposé, on considère que le mode de fonctionnement propre à l’appareil, en tant que producteur d’images techniques, a généré un changement dans le mode de perception et dans le mode de penser l’événement. Pour rendre compte de ce « changement du médium de la perception » comme le signalait Walter Benjamin, on abordera en premier lieu la problématique de l’appareil lui-même. On essa-yera de comprendre le fonctionnement propre à l’appareil photographique, son milieu d’émergence, et le contexte théorique dans lequel il est né, à savoir, les discussions autour de l’automatisme dans le cadre des techniques, mais également dans le cadre des théories physiolo-gistes qui ont essayé de rendre compte de l’automatisme psychique. Une fois établie cette problé-matique, on abordera la question de la situation de l’appareil photographique dans le contexte américain. C’est ainsi qu’on part de l’appareil, pour en suite réfléchir sur les conséquences de l’insertion de ce dernier dans un contexte complètement étranger à son milieu d’émergence. On abordera ainsi les images photographiques produites au XIX siècle en Amérique du point de vue de l’appareil, c’est lui qui aura permis les différents usages et pratiques photographi-ques. C’est son mode de fonctionnement qui aura transformé la perception en imposant en même temps une nouvelle temporalité, celle de la reproductibilité
The arrival of the photographic apparatus in nineteenth century Latin America must be considered as a technopolitical issue, and not only as the advent of a new form of representation that adds up to the old types of images already present in the New Continent. On the contrary, we consider that the apparatus’ inherent mode of functioning, as a maker of technical images, modified the way of perceiving and considering the event. In order to give an account of this “change in the means of perception” as Walter Benjamin stated, we will first of all tackle the issue of the apparatus itself. We will try to understand the mo-de of functioning inherent to the photographic apparatus, its means of emergence, and the theoreti-cal context from which it buds, this is, the discussions around automatism in the frame of techni-que, but also in the frame of physiology theories that tried to render account of psychic automa-tism. Once this issue is set, we will address the question of the photographic apparatus’ situation in the Latin American context. Thus, we will consider the apparatus as the starting point, in order to reflect later upon the consequences of its insertion into a context that is completely foreign to its means of emergence. We will thus approach the photographic images produced in nineteenth century Latin Ame-rica from the standpoint of the apparatus, since this is the one that made the various photographic uses and practices possible. It is its functioning mode which will have transformed perception, establishing, at the same time, a new temporality: the one of reproducibility
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Jennings, Joshua Kerby. "On Making a Difference: How Photography and Narrative Produce the Short-Term Missions Experience." UKnowledge, 2017. http://uknowledge.uky.edu/cld_etds/32.

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Short-term missions participants encounter difference in purportedly captivating ways. Current research, however, indicates the practice does not lead to long-lasting, positive change. Brian M. Howell (2012) argues the short-term missions experience is confined to the limitations of the short-term missions narrative. People who engage in short-term missions build assumptions, seek experiences, understand difference, and convey meaning, as a result of this narrative. The process of telling and retelling travel stories is integral to the short-term missions experience. Drawing upon literature on tourism, narrative, development, and photography, this study intends to evaluate the inefficacy of short-term missions through the stories which produce and are produced by photography. Through storytelling and photography from 21 short-term missions participants who have served in Ouanaminthe, Haiti, this project deconstructs the short-term missions narrative to understand, what is the relationship between the use of photography and the short-term missions experience? The results indicate a unique relationship between people, photography, and experiences within the framework of short-term missions.
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Jacinto, Aeleen. "Mes-ti-zo." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/915.

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Meztiso is an exploration of the artist’s identity as an individual born and raised in Guatemala; which is a country rich in natural resources where the majority of the population is native Maya yet the ruling class is majority white and poverty is widespread. The artist takes on this stunning contradiction using her own influences and views which were shaped by the political and economic upheaval and instability of her youth in Guatemala. The artist comments on her own identity as a person of mixed ancestry, a Meztiso, and because of her own family’s involvement in the capitalist government that has marginalized the Maya indigenous to this day.
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Schmitter, Gianna. "Estrategias intermediales en literaturas ultracontemporáneas de América Latina. Hacia una TransLiteratura." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030016.

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L’objectif général de cette thèse est d’étudier les stratégies inter- et transmédiales des littératures latino-américaines émergentes en lien avec les nouvelles technologies. Le corpus se compose de livres (prose et poésie) d’écrivains et écrivaines d’Argentine, du Chili et du Pérou qui ont été publiés en format papier entre 2000 et 2015 et qui introduisent internet et/ou l’image  la photographie, la vidéo et la visualité du texte lui-même qui émule des interfaces. Dans la première partie, nous proposons d’abord un état des lieux sur la relation entre technologie et littérature en Amérique Latine ; puis un autre sur les théories de l’intermédialité afin d’élaborer un propre modèle de stratégies inter- et transmédiales pour le corpus. Nous postulons que ces littératures sont une TransLittérature qui ne s’écrit pas seulement avec le verbal, mais avec et à travers l’autre médialité et ses logiques inhérentes. Le corpus est classifié et analysé selon : (1) la combinaison médiatique entre texte et photographie dans cinq publications de M. Bellatin (partie II) ; (2) la littérature en expansion, c’est-à-dire des livres-en-papier qui s’étendent vers internet avec des vidéos sur YouTube ou leur propre page internet, à partir d’artefacts d’A. López, de T. Rodríguez et de J. Pinos/A. Díaz (partie III) ; (3) l’évocation médiatique d’internet dans la littérature à travers l’esthétique digitale de la page (M. Raimon, D. Link, A. López, G. Viñao, I. Elordi, C. Ulloa Donoso, C. Apablaza), la logique narrative d’un jeux vidéo (E. Castromán) et des hyperliens (S. Sebakis, C. Apablaza), et la logique d’un « écrire sans écrire » qui prend sa source dans le geste du copier-coller et le fait de partager le discours d’autrui, si habituel des réseaux sociaux (C. Gradin, A. L. Caruso, L. Lutereau) (partie IV)
The general objective of this thesis is to study inter- and transmedial strategies in emerging Latin American literatures in relation to new technologies. The corpus is composed of books by authors from Argentina, Chile and Peru that have been published in paper format between 2000 and 2015 and that introduce the Internet and/or images  photography, video and the own visuality of the text that emulates interfaces. In the first part, a status of the issue reviews the relationship between technology and literature in Latin America and a second one the theories of intermediality in order to develop a model of inter- and transmedial strategies for the corpus. It is postulated that these literatures are TransLiteratures that are written not only with the verbal language, but also with and through the other mediality and its inherent logics. The corpus is classified and analyzed based on: (1) the media combination between text and photography in five publications by M. Bellatin (part II); (2) expanded literature, in other words paper-books that are expanded through videos on YouTube or their own website, therefore artifacts by A. López, T. Rodríguez, and J. Pinos/A. Díaz are considered (part III); (3) the media evocation of the internet in literature through the digital aesthetics of the page (M. Raimon, D. Link, A. López, G. Viñao, I. Elordi, C. Ulloa Donoso, C. Apablaza), the narrative logic of a video game (E. Castromán) and hyperlinks (S. Sebakis, C. Apablaza), and the logic of an uncreative writing that originates in the gesture of copying and pasting and sharing foreign discourses, frequently used on social networks (C. Gradin, A.L. Cauros, L. Lutereau) (part IV)
El objetivo general de esta tesis es estudiar las estrategias inter- y transmediales en literaturas latinoamericanas emergentes en relación con las nuevas tecnologías. El corpus se compone de libros de autores y autoras de Argentina, Chile y Perú que han sido publicados en formato papel entre el 2000 y el 2015 y que introducen internet y/o la imagen fotografía, video y la propia visualidad del texto que emula interfaces. En una primera parte se proponen dos estados de la cuestión: uno, respecto de la relación entre tecnología y literatura en América Latina; el otro, sobre las teorías de la intermedialidad, a fin de elaborar un propio modelo de estrategias inter- y transmediales para el corpus. Se postula que estas literaturas son unas TransLiteraturas que se escriben no solamente con lo verbal, sino con y a través de la otra medialidad y sus lógicas inherentes. Se clasifica y analiza el corpus en torno a: (1) la combinación mediática entre texto y fotografía en cinco publicaciones de M. Bellatin (parte II); (2) la literatura expandida, i.e., libros-en-papel que se expanden mediante videos en YouTube o una página de internet propia, a partir de obras de A. López, T. Rodríguez y J. Pinos/A. Díaz (parte III); (3) la evocación mediática de internet en la literatura mediante la estética digital de la página (M. Raimon, D. Link, A. López, G. Viñao, I. Elordi, C. Ulloa Donoso, C. Apablaza), la lógica narrativa de un videojuego (E. Castromán) y de los hiperenlaces (S. Sebakis, C. Apablaza), y la lógica de un escribir sin escribir que se origina en el gesto del copiar y pegar y el compartir de discursos de una autoría ajena tan habitual de las redes sociales (C. Gradin, A. L. Caruso, L. Lutereau) (parte IV)
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Brito, Isa Marcia Bandeira de. "O feminino na fotografia latino-americana e moçambicana: Ricardo Teles, Hernán Díaz e Ricardo Rangel." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/84/84131/tde-12092018-122241/.

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O presente trabalho tem como objetivo promover um maior debate e reflexão sobre a representação do feminino negro na fotografia no século XX e começo do século XXI, especificamente no Brasil, com o projeto fotográfico de Ricardo Teles (1966), na Colômbia com Hernán Díaz (1931-2009) e em Moçambique com Ricardo Rangel (1924-2009) tendo como base seus livros autorais, respectivamente: Terras de Preto: Mocambos, Quilombos: Histórias de Nove Comunidades Negras Rurais do Brasil, de 2004; Cartagena de Siempre, de 2002 e O Pão Nosso de Cada Noite. Our nightly bread, de 2004. Para tanto, comparamos a fotografia como linguagem técnica e artística com a iconografia previamente produzida nos referidos países. A análise da fotografia como um exercício objetivo mostra que a semiótica e a multidisciplinaridade podem ser instrumentos auxiliares na procura por responder a informações contidas na imagem. O fotógrafo encaminha a interpretação de uma narrativa visual, pois é responsável pela produção e a recepção da imagem, no entanto a imagem contém em si um conjunto complexo de interpretações e de construções de alteridades. Por isso, deve-se levar em consideração seu caráter tão subjetivo quanto artístico quando adotando uma metodologia de análise.
The present work aims to promote further debate and reflection on the representation of the black female in photography in the twentieth century and the beginning of the twenty - first century, specifically in Brazil, with the photographic project of Ricardo Teles (1966), in Colombia with Hernán Díaz (1931-2009) and in Mozambique with Ricardo Rangel (1924-2009) based on their authorial books, respectively: Terras de Preto: Mocambos, Quilombos: Histórias de Nove Comunidades Negras Rurais do Brasil, 2004; Cartagena de Siempre, 2002 e O Pão Nosso de Cada Noite. Our nightly bread,2004. In order to do so, we compare photography as technical and artistic language with the iconography previously produced in those countries. The analysis of photography as an objective exercise shows that semiotics and multidisciplinarity can be auxiliary tools in the search for information contained in the image. The photographer directs the interpretation of a visual narrative, since it is responsible for the production and reception of the image, however the image contains a complex set of interpretations and constructions of alterities within itself. Therefore, its subjective as well as artistic character must be taken into account when adopting a methodology of analysis.
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Books on the topic "Latin american photography"

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Concurso Internacional--Lo Mejor de la Fotográfia de America Latina (3rd 1995 Santafé de Bogotá, Colombia?). Fotografía latinoamericana 3 =: Latin American photography 3 : Tercer Concurso Internacional--Lo Mejor de la Fotográfia de America Latina. [Santafé de Bogotá, Colombia]: ASFOTO Imagen y Video, 1995.

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Galleries, Lehigh University Art. Latin American art 3: Cuban selections from the LUAG teaching collection. Edited by Viera Ricardo, Navarrete José Antonio, and Lehigh University. Art Galleries. Museum Operation. Bethlehem, PA: Lehigh University Art Galleries/Museum Operation, 2010.

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Galleries, Lehigh University Art. Latin American photography 2: Selections from the Lehigh University Art Galleries collection. Bethlehem, PA: Lehigh University Art Galleries/Museum Operation, 2006.

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Museum, Phoenix Art. Defining moments: The Judy and Sidney Zuber collection of Latin American photography. Edited by De Sá Rego Stella, Statzer Mary 1966-, Zuber Judy, and Zuber Sidney. Phoenix, Ariz: Phoenix Art Museum, 2004.

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Aletti, Vince, writer of supplementary textual content, ed. A respect for light: The Latin American photographs, 1974-2008. New York: Glitterati, 2014.

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Viera, Ricardo. Latin American artist-photographers from the Lehigh University Art Galleries collection. Edited by Dubois Gallery, Museo del Barrio (New York, N.Y.), and University of Puerto Rico (Río Piedras Campus). Museo de Antropología, Historia y Arte. Bethlehem, PA (420 E. Packer Ave., Bethlehem, 18015): Lehigh University Art Galleries/Museum Operation, 2001.

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Russet, Lederman, Carson Matthew, 10x10 Photobooks (Organization), Carnegie Museum of Art, Aperture Foundation, and Museum of Fine Arts, Houston, eds. CLAP!: 10 x 10 contemporary Latin American photobooks : 2000-2016. New York: 10 x 10 Photobooks, 2017.

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Facio, Sara. Foto de escritor: 1963/1973. Buenos Aires: La Azotea Editorial Fotográfica, 1998.

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Levine, Robert M. Images of history: Nineteenth and early twentieth century Latin American photographs as documents. Durham: Duke University Press, 1989.

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London College of Printing and Distributive Trades. BA Photography dissertation 1991: Jorge Luis Borges and his fiction in the latin american context. London: LCPDT, 1991.

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Book chapters on the topic "Latin american photography"

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Cuarterolo, Andrea. "Film and photography." In The Routledge Companion to Latin American Cinema, 281–96. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-20.

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Kelly Hopfenblatt, Alejandro, and Silvana Flores. "Problematizing film and photography." In The Routledge Companion to Latin American Cinema, 297–315. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-21.

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Uslenghi, Alejandra. "Modern Vistas: Latin American Photography at the 1876 Philadelphia Centennial Exposition." In Latin America at Fin-de-Siècle Universal Exhibitions, 25–89. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137553966_2.

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William Foster, David. "The photography of Thomaz Farkas and the Estádo de Pacaembu." In The Routledge Companion To Gender, Sex And Latin American Culture, 273–83. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315179728-24.

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Pertierra, Anna Cristina. "Quinceañera: Coming of Age through Digital Photography in Cuba." In Consumer Culture in Latin America, 137–48. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137116864_10.

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Rojinsky, David. "Never Again!" In Viewing Photography in Post-Dictatorship Latin America, 215–61. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_6.

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Rojinsky, David. "Absent Gazes." In Viewing Photography in Post-Dictatorship Latin America, 165–214. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_5.

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Rojinsky, David. "Disappeared (Epilogue)." In Viewing Photography in Post-Dictatorship Latin America, 263–86. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_7.

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Rojinsky, David. "Memory Walls." In Viewing Photography in Post-Dictatorship Latin America, 123–64. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_4.

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Rojinsky, David. "Vernacular Presence." In Viewing Photography in Post-Dictatorship Latin America, 33–75. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_2.

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Conference papers on the topic "Latin american photography"

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Barrientos, B., M. Cerca, J. García-Márquez, C. Hernández-Bernal, Niklaus Ursus Wetter, and Jaime Frejlich. "Three-dimensional displacement measurement by fringe projection and speckle photography." In RIAO∕OPTILAS 2007: 6th Ibero-American Conference on Optics (RIAO); 9th Latin-American Meeting on Optics, Lasers and Applications (OPTILAS). AIP, 2008. http://dx.doi.org/10.1063/1.2926979.

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Gonzalez Pena, Rolando, Rosa M. Cibrian-Ortiz de Anda, Angel J. Pino-Velazquez, and Yhoama Gonzalez-Jorge. "Strains and stress distribution on the shearwall by speckle photography technique." In IV Iberoamerican Meeting of Optics and the VII Latin American Meeting of Optics, Lasers and Their Applications, edited by Vera L. Brudny, Silvia A. Ledesma, and Mario C. Marconi. SPIE, 2001. http://dx.doi.org/10.1117/12.437055.

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Hess Norris, Debra. "All you need is love." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.

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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage.
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Lopez Barrera, Silvina. "The Architectural Typologies of Latinx Housing Precarity." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.62.

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Housing precarity in the Latinx community has been a persistent problem for decades in the United States. Trailer homes, mobile parks, barrack-like housing on farms, and substandard homes have influenced the experiences of generations of Latinx immigrants in the U.S. While these architectural forms may have been conceived as transient architecture, these housing typologies have become persistent through time and ignored from public debate. This paper explores the history of these precarious housing typologies and their role shaping Latinx spatial practices and lived spaces in rural America. Through spatial justice lenses this paper considers how precarious American housing typologies of the twentieth and twenty-first centuries have historically marginalized the Latinx community obscuring their presence. Using case studies from the 1942 Bracero Program to contemporary Latinx housing in rural Vermont and Mississippi, this paper examines the Latinx lived spaces and housing typologies from a historical perspective. Additionally, it explores the spatial implications and linkages between Latinx labor and housing. When their labor is conducted in remote rural areas and small towns, their presence is obscured often times living and working on the farms and putting up with substandard housing. Research methods include examination of architectural documentation such as historical and contemporary photographs and drawings and in-depth interviews with Latinx immigrants and advocates of the Latinx community. This paper provides an analysis of housing conditions and dwelling structures through history that have been overlooked by researchers and practitioners in architectural fields. Increasing barriers to access to adequate and affordable housing in the Latinx community are interconnected with their immigration status and their limited access to resources, resulting on access to a limited and deteriorating housing stock with unsafe and unhealthy conditions. Finally, this paper offers a deeper understanding on how the labor and immigration context has influenced housing patterns in small towns and rural places.
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Tomilin, M. G. "Photographic technologies based on liquid crystals." In Latin America Optics and Photonics Conference. Washington, D.C.: OSA, 2012. http://dx.doi.org/10.1364/laop.2012.lt1c.2.

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Mazulquim, Daniel B., Giuseppe A. Cirino, and Luiz G. Neto. "Binary Amplitude Holograms: Coding and Fabrication Using Photographic Film." In Latin America Optics and Photonics Conference. Washington, D.C.: OSA, 2010. http://dx.doi.org/10.1364/laop.2010.we18.

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Fajardo, E., M. F. Nader, F. Cristancho, J. Gerl, Ricardo Alarcon, Phil Cole, Andres J. Kreiner, and Hugo F. Arellano. "The photographic capacity of a gamma Compton backscattering device." In VIII LATIN AMERICAN SYMPOSIUM ON NUCLEAR PHYSICS AND APPLICATIONS. AIP, 2010. http://dx.doi.org/10.1063/1.3480232.

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Reynoso Lara, Edmundo, José A. Dávila Pintle, Manuel Rendón Marín, Yolanda E. Bravo García, Maximino L. Arroyo Carrasco, Marcela M. Méndez Otero, Marcelo D. Iturbe Castillo, and Carlos G. Treviño. "Two nonlinear optical processes in z-scan curves of a bleached photographic film." In Latin America Optics and Photonics Conference. Washington, D.C.: OSA, 2016. http://dx.doi.org/10.1364/laop.2016.ltu4a.8.

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Hernández, Héctor H. Huipet, and Víctor M. González. "Comparative analysis of user experience in virtual photographic-based presence platform." In CLIHC '15: Latin American Conference on Human Computer Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2824893.2824906.

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Bernal, L. "Ultrarapid plasma photographs with convergent beams." In IV Iberoamerican Meeting of Optics and the VII Latin American Meeting of Optics, Lasers and Their Applications, edited by Vera L. Brudny, Silvia A. Ledesma, and Mario C. Marconi. SPIE, 2001. http://dx.doi.org/10.1117/12.437074.

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Reports on the topic "Latin american photography"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, January 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States collaborated with the exhibit.
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