Academic literature on the topic 'Nudes in photographs'
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Journal articles on the topic "Nudes in photographs"
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Lass-Hennemann, Johanna, Christian E. Deuter, Linn K. Kuehl, André Schulz, Terry D. Blumenthal, and Hartmut Schachinger. "Effects of stress on human mating preferences: stressed individuals prefer dissimilar mates." Proceedings of the Royal Society B: Biological Sciences 277, no. 1691 (March 10, 2010): 2175–83. http://dx.doi.org/10.1098/rspb.2010.0258.
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Although humans usually prefer mates that resemble themselves, mating preferences can vary with context. Stress has been shown to alter mating preferences in animals, but the effects of stress on human mating preferences are unknown. Here, we investigated whether stress alters men's preference for self-resembling mates. Participants first underwent a cold-pressor test (stress induction) or a control procedure. Then, participants viewed either neutral pictures or pictures of erotic female nudes whose facial characteristics were computer-modified to resemble either the participant or another participant, or were not modified, while startle eyeblink responses were elicited by noise probes. Erotic pictures were rated as being pleasant, and reduced startle magnitude compared with neutral pictures. In the control group, startle magnitude was smaller during foreground presentation of photographs of self-resembling female nudes compared with other-resembling female nudes and non-manipulated female nudes, indicating a higher approach motivation to self-resembling mates. In the stress group, startle magnitude was larger during foreground presentation of self-resembling female nudes compared with other-resembling female nudes and non-manipulated female nudes, indicating a higher approach motivation to dissimilar mates. Our findings show that stress affects human mating preferences: unstressed individuals showed the expected preference for similar mates, but stressed individuals seem to prefer dissimilar mates.
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Lass-Hennemann, Johanna, André Schulz, Frauke Nees, Terry D. Blumenthal, and Hartmut Schachinger. "Direct gaze of photographs of female nudes influences startle in men." International Journal of Psychophysiology 72, no. 2 (May 2009): 111–14. http://dx.doi.org/10.1016/j.ijpsycho.2008.11.001.
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Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.
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This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.
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Nyklová, Blanka, and Nina Fárová. "Scenes in and outside the library: Continuity and change in contesting feminist knowledge on the semi-periphery." Sociologija 60, no. 1 (2018): 194–209. http://dx.doi.org/10.2298/soc1801194n.
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Feminist sociological research is well institutionalised in the Czech Republic with two major departments at the Institute of Sociology of the Czech Academy of Sciences. However, it would be wrong to believe that the knowledge produced by them goes uncontested. In the article, we analyse the de-legitimizing strategies used to discredit and denounce such knowledge in two particular cases that entered the media in 2015 and 2017. In the first case, feminist sociologists criticized an exhibition of photographs of nudes presented as part of an event aimed at attracting schoolchildren and youth to science. In the latter case, a Czech documentary director criticized a rhyme, which strictly delineates roles for boys and girls and appears in a Czech reading book. Both the cases were followed by several analyses and comments by Czech gender studies scholars, and articles employing different strategies to specifically denounce feminist knowledge and expertise. Using thematic analysis, we present three strategies used to denounce feminist/gender studies knowledge and to highlight both its local specificities and commonalities with the global and pan-European ?alliance in spirit? identified by Sabine Hark (2017). We conclude by pointing out some local repercussions of the novel ?antigenderism discourse?, its links to other critiques typically found in Central and Eastern Europe and to the pan-European trends.
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Aguilar, Laura. "Human Nature." Boom 5, no. 2 (2015): 22–27. http://dx.doi.org/10.1525/boom.2015.5.2.22.
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Laura Aguilar’s Nature Self Portraits treat the human body as another feature in landscapes. In the series, Aguilar positions herself in the center of her photographs, nude, often with her back to the camera. The curve of her back echoes the rocks, her black hair in the wind recalls the thin fingers of desert trees. The photographs are at once playful and beautiful, peaceful and provocative. This photo essay includes work from Aguilar’s series, plus a similar work by California photographer Judy Dater, which influenced Aguilar.
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Resasco, Agustina, Ana C. Carranza Martin, Miguel A. Ayala, Silvina L. Diaz, and Cecilia Carbone. "Non-aversive photographic measurement method for subcutaneous tumours in nude mice." Laboratory Animals 53, no. 4 (August 21, 2018): 352–61. http://dx.doi.org/10.1177/0023677218793450.
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We have developed a new method for the measurement of subcutaneous tumour volume which consists in taking photographs of mice in their home cages, to refine the standard method of measurement with calipers. We consider this new method to be non-aversive, as it may be more compatible with mice behavioural preferences and, therefore, improve their welfare. Photographs are captured when mice voluntarily go into an acrylic tube containing graph paper that is later used as a scale. Tumour volumes measured with the caliper and the non-aversive photographic method were compared to those obtained by water displacement volume and weight. Behavioural and physiological changes were evaluated to assess animal welfare. Significant differences were found between measurements obtained with the caliper and the non-aversive photographic method, v. the reference volume acquired by water displacement ( P < 0.001). Nevertheless, there was good consistency for these measurements when tumours were measured repeatedly, with all Intra-Class Correlation Coefficients above 0.95. Mice on which the non-aversive photographic method was employed were significantly less reluctant to establish contact with the experimenter ( P < 0.001) and behaved less anxiously in a modified-Novelty Suppressed Feeding test. Particularly, statistically significant differences were found in connection with the latency to eat an almond piece ( P < 0.05), the frequency of grooming ( P < 0.001) and the frequency of defecation ( P < 0.001). Corticosterone concentration in faeces and blood glucose were determined and no significant changes were found. Therefore, we propose the non-aversive photographic method to measure subcutaneous tumours as a way to refine methodologies in the field of experimental oncology.
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Gyewon, Kim. "‘How to Photograph Women’: Female Portraits and Nude Photographs in Mid-Twentieth Century Japan." Journal of Korean Modern & Contemporary Art History 38 (December 31, 2019): 191–221. http://dx.doi.org/10.46834/jkmcah.2019.12.38.191.
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Wright, Ellen. "Having Her Cheesecake and Eating It." Feminist Media Histories 2, no. 4 (2016): 116–42. http://dx.doi.org/10.1525/fmh.2016.2.4.116.
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Bunny Yeager was a pinup model and photographer who appeared on TV and in exploitation films, while creating pinups and “art” nudes for Playboy, coffee-table books, and how-to publications. She is currently experiencing a revival as part of a subcultural vogue for 1950s and 1960s Americana. In her images she was often both subject and photographer, and her self-reflexive pictures engage with issues of authorship, control, and the sexualized gaze. This text examines Yeager's portraiture, her instructive writing, her representation in the film Bunny Yeager's Nude Camera (1963), and the way she positioned herself when discussing her work, to demonstrate how she embodied a mode of professional and sexual agency that engaged with broader, progressive ideas pertaining to women's labor and identity circulating in 1960s America as part of feminism's second wave.
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Eyre, Sarah, and Xanthe Hutchinson. "Re-touched." Fashion, Style & Popular Culture 8, no. 2 (May 1, 2021): 205–10. http://dx.doi.org/10.1386/fspc_00079_1.
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Re-touched is a collaborative project by collage artist Sarah Eyre and fashion photographer Xanthe Hutchinson. Both artists share an interest in the female body, particularly the notion of pleasure in display and gaze between women and the body. The body of work that forms Re-touched combines photographic and collage methods in order to embody a sense of sensuality through the opening up and enfolding of the female form, on set and through the process of collage. The artists position their work within a framework of feminist theory that questions the binary thinking around the gaze. They draw on the writing of Laura U. Marks to bring a haptic quality to their photographic and collage interventions to the image, and in inviting the viewer to be touched by their images. Through this series of photographic collages, they have established a visual and tactile approach that utilizes the body, is collaborative and re-figures the power structures between model, photographer and viewer. Their images offer a way of rethinking and reshaping representations of the female nude.
Dissertations / Theses on the topic "Nudes in photographs"
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Minks, Marlin. "Strips /." Online version of thesis, 1985. http://hdl.handle.net/1850/10111.
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Radić, Xavier. "Queer reflections on Baron Wilhelm von Gloeden a creative reconsideration of pose, gaze and technique : this exegesis [thesis] is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design in the year 2004 /." Full thesis. Abstract, 2004.
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Lager, Sarah Alexandra. "Le nu métamorphosé." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010637.
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La métamorphose envisagée comme principe révélateur du nu laisse apparaître la réalité ambiguë de son existence plastique, la situant dans un entre-deux permanent oscillant entre accès et détournement, monstration et effacement. Corps photographique ou pictural, il devient signe d’une trace, d’une sensation par son incorporation au sein de livres photographiques. Ces recueils intimistes, dévoilant les identités multiples du corps féminin, proposent une intensification du désir par la mise en suspens d’une étreinte métaphorique. Lié à des récits mythologiques, poétiques et artistiques, le nu métamorphosé offre une entrée particulière où la mise en doute de son aspect présente sa suspension dans une immensité le dépassant. Etendu, morcelé, établit dans toute sa fragilité, il compose tout autant de paysages à arpenter qu’à contempler, où le toucher répond à l’excitation visuelle. L’infime apparence du corps sous-tend la peau, transperce le regard en se déployant dans un érotisme éblouissant. Par l’inscription de cette surface-peau, le nu métamorphosé est cette forme en dissolution qui survient dans un éclatement du corps et propose une véritable géographie épidermique, qui s’articule entre révélation de l’intimité de l’être et pluralité des sensationsTransformation considered as a revealing principle of the nude shows the ambiguous reality of its plastic existence, putting it an everlasting in-between place that wavers between access and diversion, showing and fading. Photographic or pictorial body, it becomes the sign of an impression, a feeling by its incorporation into photography books. These intimist collections, revealing the numerous identities of the feminine body, offer an intensification of the desire by having a figurative embrace to await. Being linked to mythological, poetical or artistic tales, the transformed nude presents a peculiar entry where questioning its aspect displays its suspension in a vastness that goes beyond it. Stetched, broken up, fully settled in its frailty, it forms landscapes to be stridden across just as well as gazed upon, where the sense of touch responds to the visual excitement. The minimal appearance of the body underlines the skin, enhances its grain, enshrouds it and gives life to the unspeakable. Burning, biting, the picture and especially one of the skin, pierces through the glance by unfolding in a dazzling eroticism. By the inscription on this skin-surface, the transformed nude is this form in dissolution which occurs thanks to the breaking of the body and which presents a real epidermal geography that is made of a mix between the disclosure of the intimacy of the self and the multitude of feelings
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Blin, Sandy. "La série des Distorsions de 1933 : Une parenthèse dans l’œuvre d’André Kertész ?" Thesis, Saint-Etienne, 2012. http://www.theses.fr/2012STET2160.
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Moins connues que Chez Mondrian, ou d’autres tirages devenus célèbres, les Distorsions de 1933 peuvent apparaître comme une série d’importance mineure dans l’œuvre d’André Kertész. La série de photographies qui la composent, vaste par le nombre, donne à voir des déclinaisons de nu qui n’ont plus rien d’académique, dans le traitement qu’en donne le photographe. Les corps, déformés grâce à un miroir courbe, surprennent de par leur modernité et leur caractère d’étrangeté, au regard du reste de la production de l’auteur. Constitue-t-elle pour autant une « parenthèse » dans son œuvre ? Il convient pour y répondre de s’interroger sur le contexte d’apparition de ces photographies et les raisons de leur création. Pour ce faire, une évaluation des composantes plastiques de chacune des images s’avère incontournable, avant que d’établir des liens et correspondances avec d’autres œuvres du photographe. L’angle choisi, qui favorise le rapport direct aux images en les plaçant au centre de la recherche, s’intéresse à la mise en œuvre des Distorsions à l’aune de la commande qui en suscita l’objectivation, tout en dévoilant comment ce cadre spécifique fut outrepassé. Le dispositif complexe employé pour la prise de vue est alors questionné, dans l’intention de mesurer l’importance et le rôle du miroir dans le dévoiement de l’image. A ce moment sont abordées, par le biais d’analyses à la fois formelles et esthétiques, les diverses typologies de corps, et leur rapport à l’espace dans l’image. Ce qui aboutit enfin à une vision d’ensemble, permettant de replacer ce corpus dans l’œuvre entier de Kertész, et de dégager les parentés intentionnelles dans sa logique de créationLess known than Chez Mondrian, or other famous prints, the Distortions of 1933 may appear as a series of minor importance in André Kertész’ work. The series of photographs, wide ranging in numbers, lets us see versions of nude, whose have nothing to do with academic, in the handling given by the photographer. Bodies, distorted by a curved mirror, surprising in their modernity and their strangeness, compared with the rest of the author production. Does it make up a "parenthesis" in his work? To respond to this question, we should wonder about the developing context of these photographs and also the reasons of their creation. An evaluation of visual aspects of each image is necessary, before establishing links and connections with other works made by the photographer. The angle chosen, which favors the direct images by placing them in the center of research focuses on the implementation of Distortions in the light of the order in which aroused objectification, while revealing how this specific framework was exceeded. The complex device used for the shooting is asked then, with the intention of measuring the importance and role of the mirror in the image’s corruption. At this time are addressed through analysis of both formal and aesthetic, the various types of bodies, and their relationship to space in the image. This leads finally to a vision, to put this body in the whole work of Kertész, and to identify the intentional similarities in his creation logic
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Murphy, Alexandra Christina. "An exploration into the photo-transformation of the human form, through a research of its contemporary influential imagery and diversity within our culture." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002212.
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The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.
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Camargo, Lucio Martins de 1968. "O nu e o olhar : uma iconologia do nu feminino na fotografia brasileira." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284320.
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Orientador: Stephane Remy Georges MalysseDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T03:44:41Z (GMT). No. of bitstreams: 1 Camargo_LucioMartinsde_M.pdf: 2990532 bytes, checksum: 5d566a1de07ede0c47d4df38267485ae (MD5) Previous issue date: 2006
Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios
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Di, Certo Alice. "The Unconventional Photographic Self-Portraits of John Coplans, Carla Williams, and Laura Aguilar." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/4.
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Laura Aguilar, John Coplans, and Carla Williams explore, through photographic self-portraiture, the representation of unconventional bodies. Even though the images produced by these artists are quite different in style, they all reflect an interest in a representation of the nude human body that challenges the traditional concepts of beauty so prevalent in a Western society obsessed with physical perfection. Even though the three artists produced their photographic self-portraits at roughly the same time, using the traditional gelatin silver process and responding to standards of classical beauty, their divergent life experiences, education, and social backgrounds have led them to question an almost universal vision of the perfect body from a broad spectrum of perspectives.
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Dreuilhe, Jean-François. "La photographie de Lucien Clergue : essai biographique sur les origines de l’oeuvre." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0167/document.
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Cette thèse propose une étude posant les bases et les origines de l’œuvre photographique de Lucien Clergue afin d’en permettre un meilleur positionnement dans l’histoire de la photographie. Une étude et des recherches qui n’avaient jamais été entreprises jusqu’à présent. Les éléments biographiques de la première partie ont été établis à l’aide de documents inédits issus de fonds privés, celui d’André Bernard particulièrement, mis à ma disposition pour étayer ce travail. Ils permettent de couvrir toute l’enfance de Lucien Clergue jusqu’à ces premières photographies. La seconde partie constitue le cœur de la thèse. En m’appuyant sur la production photographique et un très important fonds documentaire, j’établis de quelle manière et avec quels soutiens, particulièrement ceux de Pablo Picasso et Jean Cocteau, une œuvre se construit entre 1953 et 1965 et s’affirme comme esthétique du contre-jour. Ensuite, j’apporte une synthèse de l’évolution de l’œuvre, ses thèmes, ses déclinaisons, sa diffusion, notamment bibliophilique, et les actions transverses de Lucien Clergue ayant favorisé l’émergence de Manitas de Plata, et l’épanouissement de la photographie, en lien avec les Rencontres d’Arles. Les éléments avancés ont été confirmés par récolement ou recherches dans des documents contemporains des faits, ce qui a permis d’en rétablir le cours véritable, certains ayant été dénaturés par de multiples répétitions ou parfois par les qualités de conteur de Lucien Clergue. Cette thèse détermine également la réelle incidence des acteurs directs ou indirects ayant contribué à l’existence de cette œuvre photographique dont l’ossature repose sur une dramaturgie intrinsèqueThis thesis, presents the foudations and origines of the work in pohtography of Lucien Clergue in order to better relate it in the history of photography. An overall study and many researches that have never been done until now. The biographical elements used in the first part have never been published and come solely from private funds, particulary that of André Bernard, they have been available to me to corroborate my work. These elements allow to cover Lucien Clergue’s childhood up to his first photographs. The second part is the heart of the thesis, it is where, by relying on his photographic production and a very broad source base, I am able to establish inwhich manner and with what supports, particulary those of Pablo Picaso and Jean Cocteau, a life’s work is being built between 1953 and 1965 and emerges as the esthetic of the backlit. Then, I bring forward a synthesis of the evolution of the work, its principal recurring themes, its variations, its diffusion mostly bibliophily, as well as other various actions of Lucien Clergue which promoted the uprising of Manitas de Plata, and the blossoming of photography, relying on the « Rencontres Internationales de la photographie d’Arles ».All the elements put forward have been confirmed by retracing or research from contemporary documents of pure facts, which enabled to establish their real occurrence, as some had been relieved of their true nature by multiple repetitions or at times the narrative talent of Lucien Clergue. This thesis also determines the role that each actor played directly or indirectly and contribute to the existence of this photographic work with a blackbone that does rely intrinsically dramaturgy
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Saggese, Antonio José. "Imaginando a mulher: Pin-up, da chérette à playmate." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-29012009-150456/.
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Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações.Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.
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Chassin, de Kergommeaux C. Danielle. "Autofictional practices : self-fashioning in Diana Thorneycroft's self-portraits." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82695.
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This thesis explores autobiographical practices and their relationship to autofiction, by focusing on practices of identity construction and artistic performance, as well as identity construction through performance. Emphasis is given to the ways gender and sexuality enter into, and shape, these practices by examining, in particular, the way they are expressed in Diana Thorneycroft's photographic performances. Chapter 1 discusses the history and key debates in autobiography theory, the ways gender has been introduced into the analysis of autobiography, and non-literary forms of autobiography. Chapter 1 also briefly discusses the (Western) history of art by women. Chapter 2 examines Thorneycroft's oeuvre and selected responses to it. Chapter 3 presents an analysis of autofictional practices through an examination of Thorneycroft's photographic self-portraits, thereby questioning the distinctions between autobiography and autofiction and suggesting that there is considerable overlap in their definition. The Conclusion briefly discusses agency in relation to autofictional (self-making) practices.
Books on the topic "Nudes in photographs"
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Hirsch, Walter. Naket = Nudes ; fotografier = photographs. Enskede: Nya vyer, 2004.
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Hirsch, Walter. Naket =: Nudes : fotografier = photographs. Enskede: Nya vyer, 2004.
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Santoro, Vittorio. Portraits, nudes, clouds: Abook of photographs. Zürich: Memory/Cage Editions, 1993.
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Edison, Laurie Toby. Familiar men: A book of nudes : photographs. San Francisco, Calif: Shifting Focus Press, 2004.
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Fieled, Adam, ed. Hand In Glove: Photographs and Essays. Conshohocken, Pa: Internet Archive, 2013.
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Charis, Wilson, ed. Edward Weston: Nudes : his photographs accompanied by excerpts from the daybooks& letters. London: Hale, 1993.
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1914-, Wilson Charis, ed. Edward Weston nudes: His photographs accompanied by excerpts from the Daybooks & letters. New York: Aperture, 1993.
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School, Philly Free. Two Girls In A Bed: (Alien and Lovely/same model/Jeremy Eric Tenenbaum). Edited by Philly Free School. Conshohocken, Pa: Internet Archive, 2013.
Find full textBook chapters on the topic "Nudes in photographs"
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Ellenzweig, Allen. "Fifty Photographs and a Family Wedding at City Hall." In George Platt Lynes, 230–41. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190219666.003.0016.
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George’s 1934 show with Julien Levy presents famous faces, including André Gide, Gertrude Stein, Carl Van Vechten, and Lily Pons. Glenway contributes the exhibit’s poster essay. George photographs Balanchine’s ballet premier at Kirstein’s invitation, beginning twenty years as official photographer of successive Balanchine/Kirstein companies. Barbara Harrison visits New York. Fascism in Europe threatens future war. Printing HOP editions on the continent becomes costly. Barbara is integrated into Monie and George’s lively social life. On her meeting Lloyd Wescott, instant attraction encourages serious dating. She and Lloyd marry in April 1935. In summer, Monroe and George travel abroad on a German liner forbidding Jewish passengers. As a member of MOMA’s Library Committee, Monie curates a striking exhibition on contemporary bookbinding. Glenway struggles to regain career traction after long expatriation in France. The dynamic on East 89th Street leaves him odd man out. George consolidates his reputation in fashion and portraiture, while privately photographing unexhibitable male nudes.
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Wilson, Emma. "Nan Goldin." In The Reclining Nude, 141–98. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0005.
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Focusing on two projects first mounted in Paris, an installation about Goldin’s sister Barbara, Sisters, Saints and Sibyls and a projection and grid pictures inspired by images in the Louvre Museum, Scopophilia, this chapter looks at the melancholy and sensuality of the European phase of Goldin’s work. It looks in particular at her attention to women (cisgender and occasionally trans). She moves from images of prostration, lying down to die on railway tracks, being struck down by piercing grief, being tied down in a hospital bed, to images of radiant beauty, exposure, and female eroticism. Through the expansive range of feelings conjured by her photographs, Goldin vindicates female pleasure in looking, and further explores the contestatory power in images of indolence, languishing, and inactivity. The chapter engages closely with Goldin’s statements about her art. It offers, like the book as a whole, an exultant apprehension of new engagements with intimacy and eroticism, and new visions of a feminist, resistant passivity.
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Feleman, Susan. "The Mystery … The Blood … The Age of Gold: Sculpture in Surrealist and Surreal Cinema." In Screening Statues, 46–64. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.003.0003.
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Figurative sculpture had a special status within the visual universe of Surrealism. Iconographically, statues are a prominent element in the dreamlike spaces of Giorgio de Chirico’s paintings of 1913–14 that so enchanted André Breton and friends after the end of the war and became among the first and most paradigmatic images associated with the movement. Statues appear in many other Surrealist paintings, including those of Salvador Dalí, where, although they might stand on plinths or pedestals, they equivocate between the appearance of inanimate and living bodies, through the impression of liquidity and putrefaction that infects all his visions. In Surrealist collages, too, bodies are often rendered equivocally sculptural through fragmentation, for instance in photographic or printed images of the female nude rendered headless or otherwise dismembered to resemble antiques, in the works of Max Ernst and others. René Magritte, Paul Delvaux, Man Ray, Pierre Boucher, Picasso, and Jean Cocteau, among others associated with Surrealism, also incorporated statuary into their paintings, drawings, and photographs.
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Wilson, Emma. "Agnès Varda." In The Reclining Nude, 39–102. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0003.
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Agnès Varda studied art history and photography, and the influence of the visual arts in her filmmaking has long been remarked. This discussion is the first to close in on the figure of the reclining nude which appears in her work in the form of tableaux vivants from the early film, L’Opéra Mouffe, and returns extensively in her portrait film Jane B. par Agnès V. In this film, together with cinematographer Nurith Aviv, Varda creates an cinematic reclining nude in a very slow, sensual pan across the prone naked body of Jane Birkin, from her feet to her smiling face. Here, and in another film from the 1980s, Documenteur, Varda explores reclining figures as part of her filmic experiments with emotion and rêverie, the reclining figure drawing and expressing feelings of erotic pleasure, repose, delay, melancholy, and depression. Her interest in still visual precedents in her work coalesces with her career-long feminist attention to states of female feeling and being.
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"4. Braquehais and the Photographic Nude." In Industrial Madness: Commercial Photography in Paris, 1848–1871. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00182.010.
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Cui, Shuqin. "The Pregnant Nude and Photographic Representation." In Gendered Bodies, 49–66. University of Hawai'i Press, 2015. http://dx.doi.org/10.21313/hawaii/9780824840037.003.0004.
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"2. The Pregnant Nude And Photographic Representation." In Gendered Bodies, 49–66. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824857424-005.
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Ellenzweig, Allen. "Bankrupt." In George Platt Lynes, 433–49. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190219666.003.0029.
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By the late 1940s, George’s business is unsteady. He sells the Hollywood house; Russell retains the chattel mortgage on the artwork. In 1950, George consults a financial manager; this lasts mere months. His career flags as new leaders emerge in fashion photography: Irving Penn and Richard Avedon. George publishes nudes in the Swiss homophile periodical Der Kreis under his own name and as “Roberto Rolf.” The journal’s advocacy predates Harry Hay’s American homophile Mattachine Society. George helps Neel Bate, aka “Blade,” produce an underground illustrated porn edition, The Barn. George befriends Samuel Steward, a Kinsey protégé, encouraging Steward’s correspondence explicitly describing his homosexual escapades. In 1951, George moves alone to rough Hell’s Kitchen, turning his tenement into a facsimile of elegance. His finances are desperate—the IRS demands settlement of an old $4,000 tax claim. His studio is padlocked, his equipment seized, the entirety put up for auction.
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BENJAMIN, L. "Undressing Fine ArtApproaches to the Fine Art Nude in Photography." In The Naked and the Lens, 16–35. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81159-8.00007-8.
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Gorfinkel, Elena. "Introduction." In Lewd Looks. University of Minnesota Press, 2017. http://dx.doi.org/10.5749/minnesota/9781517900175.003.0001.
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New York City, mid-1960s, black-and-white 35mm film stock and a familiar sexploitation scenario: young Candy leaves her small town. We see her departing on the train. She is fleeing the fate of her mother, a prostitute who has committed suicide. She opines in voice-over about a new life in New York City, which holds the promise of another identity and respite from the shame bestowed by maternal disgrace. Candy (Barbara Morris), with dark hair and cropped bangs, evokes a low-budget Anna Karina circa Jean-Luc Godard’s early 1960s films. She moves in with an old girlfriend, her enchantment by the city’s roiling creative energies and architectural marvels rendered through street scenes, vertiginous views of skyscrapers, female flânerie. Introduced to the world of the single urban working girl by the women whom she befriends, Candy resorts to nude modeling and escorting. After two failed romances, with a philandering nude photographer and a sculptor more piqued by his art than by Candy, she returns to her party girl life while secretly edging toward despair....
Conference papers on the topic "Nudes in photographs"
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Labong, JAM. "ON THE FEMALE NUDE, SEXUAL BODILY SERVICES, AND WOMEN’S OBJECTIFICATION: A CASE STUDY ON ARAKI’S SEXUALLY EXPLICIT PHOTOGRAPHS." In World Conference on Women’s Studies. The International Institute of Knowledge Management, 2022. http://dx.doi.org/10.17501/24246743.2022.7101.
Full textReports on the topic "Nudes in photographs"
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Sutton, Kevin Matthew, Sandra M. Valdez, and Brent Scott Budden. Space and Endo-Atmospheric NuDet Surveillance Experimentation and Risk-Reduction (SENSER) Official Photographs. Office of Scientific and Technical Information (OSTI), March 2019. http://dx.doi.org/10.2172/1504636.
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