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Wendt, Gunvor von. "Screening for diabetic retinopathy : aspects of photographic methods /." Stockholm, 2005. http://diss.kib.ki.se/2005/91-7140-398-1/.
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Triantaphillidou, Sophie. "Aspects of image quality in the digitisation of photographic collections." Thesis, University of Westminster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251575.
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Donelson, Sarah L. "Cries of agony : a work in photographic montage." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
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The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer.Department of Art
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Gavard, Sandra. "Photo-graft : a critical analysis of image manipulation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ54990.pdf.
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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.
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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Mountain, Michelle Fiona. ""The secret rapport between photography and philosophy" considering the South African photographic apparatus through Veleko, Rose, Goldblatt, Ractliffe and Mofokeng." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002211.
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This thesis is an attempt at understanding South African photography through the lens of Nontsikelelo “Lolo” Veleko, Tracy Rose, David Goldblatt, Jo Ractliffe and Santu Mofokeng. Through the works discussed this thesis intends to unpack photography as a complex medium similar to that of language and text, as well as attempt to understand how exploring South African experiences and spaces through the lens of photography shapes and mediates them. Furthermore it also attempts to understand how these experiences and spaces conversely affect the discourse of photography or at the very least our perception of it. Through these photographers and their works it is hoped that ultimately the interconnected relationship of exchanging codes that takes place between photography and society will be highlighted. The example of connectivity or dialogue I believe exists between the medium of photography and the physical/social and psychological spaces it photographs will be mediated through Deleuze and Guattari‟s conception of “the wasp and the orchid” where “the wasp becomes the orchid, just as the orchid becomes the wasp...an exchanging or capturing of each other‟s codes”. Other theorists I will be looking at include Vilém Flusser, focusing in particular on his book Towards a Philosophy of Photography, as well as Susan Sontag, Roland Barthes and others. The main aims and objectives of this thesis are to understand the veracity of the documentary image and whether or not the image harbours any objective truth, as well as whether truth, if it can truly be said to exist in the world, resides between the camera and the seen world. This dichotomy is further complicated by the matter of subject-hood and technical and philosophical understandings of the camera as an apparatus. At no point do I aim to be conclusive, rather it is hoped that by developing the dynamic tension between the theory and the image world that I will be able to bring fresh insight into the reading of a changing South African condition and the subject position of the photographer in relation to this condition.
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Allan, Christopher. "An analysis of digital photojournalistic practices: a study of the Sowetan's photographic department." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1003071.
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Photojournalism in South Africa is in the process of undergoing a shift from an analogue past to a fully digital future. This shift to digital has already been completed by many of the newspapers in the United States of America and Europe, and the new technology is seen to have made fundamental differences in the way that journalists do their job. This thesis attempts to explore the differences brought about, as well as the problems experienced by the photographic department at the Sowetan newspaper as a result of the shift to digital. How the development of technology has affected the photojournalist throughout is focused upon in a brief history of photojournalism and examples of how technology has shaped different aspects of journalism in both a positive and negative manner is considered. Exactly what digital photography is, how it has been integrated into American Photographic departments and the changes that the new technology has prompted are also explained. The manipulation of images in the past as well as the relative ease of digital manipulation are covered and concerns are raised about the future implications of digital manipulation. By conductlng participant observation and holding interviews, research data was compiled which allowed conclusions to be drawn about the impact that the shift to digital had had on the Sowetan photographic department. Intentional and unintentional consequences were expected and revealed in the research. The job of the photojournalist and photographic editor was found to have changed but perhaps not as dramatically as expected. Third world factors such as crime, poverty and lack of education were discovered to have resulted in problems that differed noticeably from those experienced by American and European photographic departments. Some expected difficulties were not experienced at all, while other major obstacles, specifically the repairs that must constantly be made to the digital cameras, continue to hamper the operations of the new digital department. Some understanding of the problems that might be encountered by future photojournalism departments that are considering making the shift to digital are arrived at, in the hope that they may be foreseen and overcome.
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Geyer, Xanthe Amanda. "Correction, addition and deletion : memory and its function in creating "visual narratives" (and identity) in photographic art." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002198.
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With this dissertation I propose to investigate critical theories dealing with memory and its role in photography. The function of memory is a well discussed and analysed topic within the ambit of historical research. Drawing from theoretical texts by critical theorists, namely, Roland Barthes, Annette Kuhn and Marianne Hirsch, I will critically address the function of memory in the understanding of photography; particularly how photographs have the ability to construct our identity in terms of history and narrative. I will study the content of memory in relation to visual images, focusing on what is remembered, what is suppressed, and finally, what is transformed when viewing an image. By doing so, I will consider whether or not still photographs have the ability to construct the past in a narrative form that is intrinsic to its medium. This consideration will be undertaken with specific reference to the works of contemporary South African artist Lien Botha. Special attention will be directed to her series of work entitled Amendment (2006), a series which permits me in turn, to deal with issues pertaining to memory and “visual narrative” which I have explored in my own professional art practice namely, Memory Boxes, Back Stories, Faces of You and Me, Memories Re-layered and Ghostly Remnants.
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Pinto, José Alberto de Lima Machado. "A holografia estereográfica como meio de expressão artística." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Engenharia, 1999. http://hdl.handle.net/10216/12048.
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Blomgren, Constance, and University of Lethbridge Faculty of Education. "Family photos : an exploration of significant exposures." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1999, 1999. http://hdl.handle.net/10133/93.
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This hermeneutic inquiry into the significance of family photographs in our personal and public lives explores the relationship between the subject, the photographer and the viewer. The discussion uses the photgraphic oeuvres of the author's paternal grandfather and maternal grandmother as the basis of the exploration. Themes which appear include the following: the represented and projected images of a family within family photos; the significance of gender in the making of snapshots; and, the influence of history and religion upon families.
The discussion also includes the relationship between art and photography, art photography and the snapshot genre, the role of women within photography and snapshot photography as a method of visual narrative. The author delves into hermeneutics as an interpretative framework when viewing family photos. Semiotics, and Roland Barthes' Camera Lucida (1981) inform the discussion in addition to Jung's matriarchal consciousness as two alternative frameworks for interpreting family photographs. The study indicates that family photographs are visual artifacts which document and authenticate the lived experiences of the photographer and that they serve as a visual form of life writing. Data from the photographic industry indicates the heavy
involvment of women in family photographs which the study links to the marginalised role of the genre. To interpret the significance of the ubiquitous family snapshot involves the hermeneutic circle as the "text" of the photograph involves the inter-textuality of other previously encountered texts.xvii, 199 leaves : ill. ; 28 cm.
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Barthélemy, Anne. "La photographie vorticiste : un aspect de la photographie d'avant-garde /." Paris : l'auteur, 1996. http://catalogue.bnf.fr/ark:/12148/cb370652877.
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Godeau, Vincent. "La photographie africaine contemporaine : vers une photographie panafricaine." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040097.
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La photographie africaine contemporaine est ici celle que pratique les Africains vivant en Afrique. Durant notre période (1989-2009), le constat de l’absence de spécificité de la photographie africaine fait place au constat du regard photographique erroné que porte les Occidentaux sur l’Afrique. « Quelle est la vraie photographie africaine ? » est une des questions les plus souvent posées. En parallèle, le genre du portrait s’impose, en lutte contre un afropessimisme ambiant, tandis que les photographies documentaire et du réel montrent l’Afrique vécue par les Africains. Plus militante, la photographie citoyenne se développe et s’accompagne d’une hégémonie discursive. Mais la vraie photographie engagée est donnée par des pays anglophones qui contribuent à la marche collective vers la reconnaissance. Dans ce processus de reconnaissance, la France et les Etats-Unis jouent un rôle essentiel. L’intérêt porté par ces deux pays du Nord à la photographie africaine s’explique par l’existence d’une diaspora de photographes africains dont les travaux alimentent nombre de manifestations, palliant ainsi un déficit relatif en photographes locaux pratiquant une « photo d’art ». Dans ce contexte fragile, la pépinière de photographes sud-africains évoluant dans une économie de marché à l’occidentale prend à contre-pied les pays d’Afrique francophone où les fonctionnaires français répartissent des aides d’origine étatique et européenne. Cette Afrique du Sud, avec d’autres pays anglophones et le Mozambique, est le véritable porte-étendard d’une photographie africaine en gestationContemporary African photography is here photography practiced by Africans living in Africa. In our period (1989-2009), the acknowledgement of the absence of specificity of African photography takes the place of the photographic gaze brought by Westerners to Africa: “What is the real african photography?” is a question that characterizes this photography. In parallel, the portrait genre imposes itself, searching to end up outside of the consciences of an ambient afropsessimism, while documentary photographs show the Africa lived by Africans. Even more militant, citizen photography develops and is accompanied by a discursive hegemony. But the true photography engaged has been given by some of the Anglophone countries that therefore contribute to the collective march to recognition, France and the United States playing an essential role, since 1990, in this process. The interest in those two northern countries may also be explained by a diaspora of African photographers whose work feeds a number of manifestations that highlight a relative deficit of local photographers that practice “art photography”. In this fragile context, the nursery of South African photographers evolving in an economic market similar to that of the occident takes a counter-point to French speaking countries where French civil servants distribute state assistance of European origin. It is this South Africa, alongside other English speaking countries and Mozambique, that demonstrates the path of a clearly gestating African photography
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譚美兒 and Mei-yee Eve Tam. "Orientalism and photography." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B4413938X.
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Herrerias, Cuevas Vesta Mónica. "Le masque social ou la representation de la bourgeoisie mexicaine dans le portait photographique (1854-2008)." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030058.
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Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne VenegasFar from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas
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Pinto, José Alberto de Lima Machado. "A holografia estereográfica como meio de expressão artística." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Engenharia, 1999. http://dited.bn.pt:80/29117.
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Schnarr, Christopher E. "Moments between the surface : photography and fiction." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935913.
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Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes.Department of Architecture
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Zekri, Walid. "La photographie d'architecture mise en espace." Paris 1, 2013. http://www.theses.fr/2013PA010501.
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Comment voir et exposer, autrement, l'architecture par la photographie ? Entre la conception d'une forme architecturale, sa perception et son mode d'apparition ou d'exposition, s'établit un dialogue aléatoire que la photographie d'architecture essaye souvent de traduire. L'objectif est de poser des réflexions personnelles sur les liens unissant l'architecture et sa représentation photographique. Il s'agit d'aborder l'architecture comme un outil propice à réve��ler de nouvelles perceptions. Un procédé technique fait oublier que le regard constitue l'essentiel de l'acte photographique, et à travers la sensibilité de l'oeil, ressort la sensibilité de l'esprit s'exprimant quel que soit le photographe ou le spectateur : la photographie d'architecture mise en espace.
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Solinas, Stéphanie. "Photographie et identité : images du corps surveillé." Paris 1, 2008. http://www.theses.fr/2008PA010709.
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Et si la photographie avait inventé l'identité ? Le corps, au moment de sa transformation en image, devient le lieu d'un affrontement entre le général et le particulier afin de définir l'identité. Il est interrogé, interprété, et remis en question, dans la perspective de ses rapports à l'Homme moyen. Mais l'individu, en cela même qu'il est un et irréductiblement différent de tous les autres, n'est jamais l'identité modèle que la société voudrait lui attribuer ou dont il se désirerait porteur. Ces « individus », dont l'identité est dissoute et irréductible dans le même temps, ces « singularités quelconques » sont la matière de mes travaux. J'interroge le rapport de forces qui se joue dans l'identité représentée, entre volonté de contrôle et libération de l'individu, entre clichés et singularités. Le portrait photographique révèle ses composantes politiques et artistiques indissociablement mêlées, au coeur d'une réflexion sur l'image et sur la société de surveillance qui l'élabore.
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Petitjean, Joël. "Recherches sur la photographie et la Commune." Paris 4, 1996. http://www.theses.fr/1995PA040075.
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Des photographies de la commune de paris (1871) sont tres souvent reproduites a des fins d(illustration dans des publications historiques. Depuis quelques annees, il est question regulierement de ces images dans des ouvrages consacres a la photographie. Cependant, il n'existait encore aucun ouvrage de reference. La lecture de commentaires contradictoires justifie une analyse ouyverte. D'ordre esthetique, sociologique, s'appuyant sur un inventaire methodique des images. Pour la premiere fois, ce travail direct dans des collections publiques (bibliotheque nationale, etc. ) a ete veritablement entrepris. Ce memoire comprend une etude selon trois approches: une analyse typologique et thematique, une situation des photographies par rapport a d'autres moyens de representation (gravure) et d'expression (ecriture), une analyse des diverses appropriations de la photographie suscitees par les evenements. L'etude est suivie d'une chronologie, d'un important catalogue de tirages et d'albums, qui comprend des notices biographiques de photographes, d'une bibliographie, et d'un choix de reproductions. Dans une situation extreme, la photographie prend une place plus grande et fort revelatrice. Certains de ses usages sont systematises (communication, propagande, identification policiere). Antidote a l'eloignement spatio-temporel, la photographie vehicule certains aspects de la realite. Elle se cherche dans sa relation a l'evenement. Elle enregistre les lieux et les personnages, dans un rapport de proximite croissant. A la peinture d'histoire se substitue la "photographie historique". La photographie transmet des symboles, contribue au conditionnement. Elle est utilisee et censuree par les pouvoirs publicsPhotographies on paris commune (1871) are very often reproduced for illustration purposes in historical publications. For many years, it is regularly question of theses pictures in works dedicated to photography. Nevertheless it odes not exist yet any reference book. The reading of contradictory commentaries justify an open analysis, of aesthetic, historical and sociological nautre, based on a methodical inventory of pictures. For fhe first time, this work direct in public collections (paris, bibliotheque nationale, etc. ) has been made. This report includes a study accordingy to three approaches : a typological and thematic analysis, a situation of the pictures in comparison with other means of representation (endgraving) or expression (writting), an analysis of the various photography appropriations created by the events. The stidy is followed up of a chronology, of an important catalogue of printings and albums, including biographical notes, of a bibiliography, and of a choice of reproductions. In an extreme historic situation, the photography takes a wider place and is revealing. Some of its uses are systematized (communication, propaganda, police identification). Antidote against spacio-temporal distance, photography is a vehicle for some aspects of reality. It searches its identity in its relation to the event, it registers the sites and the characters, in an increasing proximity report "historical photography" is syubstituating to history painting. Photography transmits symbols, contributes to conditioning. It is used, and censored by authorities
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Vigliotti, Jeanette C. "The Double Sighted: Visibility, Identity, and Photographs on Facebook." UNF Digital Commons, 2014. http://digitalcommons.unf.edu/etd/506.
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The primary objective of this analysis is to uncover the tools of Facebook identity construction. Because Facebook users have the ability to control the images and information associated with their profiles, reactionary scholars typically classify Facebook identity as a symptom of cultural narcissism. However, I seek to displace the fixation on the newness of the medium in order to interrogate the possibility of a society that has internalized surveillance. Using Michel Foucault’s theories on panopticism and heterotopia, I examine the role photographs play in the construction of an individual on Facebook, and the ways in which user photographs are positioned into social memory construction.
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Lemaire, Thierry. "La télédetection spatiale à haute résolution : aspects juridiques." Brest, 2003. http://www.theses.fr/2003BRES5002.
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Les récents lancements de satellites civils, capables de commercialiser des images spatiales avec une résolution numérique métrique, marquent une évolution importante dans le domaine de la télédétection spatiale à haute résolution, réservée traditionnellement aux Etats pour des usages stratégiques et militaires. L'intervention des sociétés privées et l'exploitation commerciale de ces images spatiales soulèvent de nombreuses questions juridiques liées à l'application des principes fondamentaux du droit de l'espace et de la résolution n°41/65 du 3 décembre 1986 (comme par exemple, la liberté de collecte et de diffusion des images spatiales) qui résultent d'un compromis entre les pays en voie de développement et les pays disposant des capacités d'observation de la Terre. En effet, la communauté internationale a admis la liberté de prise de vues sous réserve de la diffusion non discriminatoire des données. Il semble que ce principe vaut pour les systèmes privés à haute résolution mais l'usage des données à des fins civiles mais aussi militaires peut engager la responsabilité internationale des Etats pour les activités nationales menées depuis l'espace. Ainsi, un encadrement des activités privées est nécessaire au niveau national et international et certaines limites à la commercialisation des données de télédétection peuvent être adoptées par les Etats lorsque l'utilisation des images peut être préjudiciable aux intérêts publics. Cette intervention étatique doit être appréciée au regard des règles de la libre concurrence et de la diffusion non discrinatoire des données. Par ailleurs, la protection des données doit être harmonisée au niveau international afin de sécuriser les investissements des entreprises privées et favoriser le développement du marché commercial de l'imagerie spatiale. En outre, l'utilisation des images spatiales ne doit pas porter atteinte aux droits des personnes en matière de propriété privée sur les biens observées ou de respect à la vie privéeThe recent launching of private satellites, able to deliver high resolution remote sensing data, point out an unprecedented evolution in the sector of remote sensing due to the usual utilisation of this accurate imagery only by States for strategic and military uses. The proliferation of private companies and the commercial utilisation of the remotely sensed data raise a lot of legal questions as regards the application of space law principles and those of the United Nations Resolution n°41/65 of 3rd december 1986 (as for example, the freedom to observe and to disclose the remote sensing data) which are issued from a compromise between developing States and those using Earth remote sensing satellites. Indeed, the international Community adopted the freedom of observation at the condition that data would be available for sensed States on a non-discriminatory basis. It seems that this principle is accepted for the private high resolution remote sensing systems but the use of imagery for civil and military needs may engage the international responsability of States for national activities carried out from space. Then, the private activities have to be controlled at national and international level and some commercialisation restrictions can be adopted by States when the use of space imagery can compromise public interests. This public intervention has to respect the freedom of competition and the access od sensed States to remote sensing data on a non-discriminatory basis. Besides, the data protection has to be harmonised a international level in order to secure private companies investments and facilitate the development of the commercial space imaging sector. Moreover, the use of remote sensing data has not to be prejudicial to individual rights related to the protection of private property, applicable to goods sensed from space, and the right to privacy
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Zuccante, Luigi. "Du négatif au positif ou de la remédiation pédagogique par la photographie." Toulouse 2, 1999. http://www.theses.fr/1999TOU20012.
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L'acte photographique peut être utilisé comme remédiation pédagogique avec des élèves en butte au système scolaire. En effet, l'acte photographique augmente la confiance en soi (il y a toujours un résultat), tout en développant des compétences non négligeables : maîtrise de la distance, du temps (choix du moment, attente du résultat), maîtrise de l'émotion, obligation d'effectuer en permanence des choix. De plus, pour un élève, photographier son environnement lui permet de visiter les lieux, de les découvrir. L'élève redonne ainsi une signification positive à un lieu qui lui apparaissait hostile. À travers l'acte photographique, l'élève s'approprie un lieu qui devient rassurant, familier. Il devient le chasseur d'images qui va capturer des instants de vie et conquérir des espaces. Il se sert de l'appareil comme une arme. Par ailleurs, cette thèse montre que la photographie est un acte de vie et non pas liée à la mort comme le suggère certaines théories. La photographie a également le pouvoir de permettre à l'individu de construire une image qui correspond à l'idée qu'il se fait de la réalité et donc de ne pas être en dissonance avec elle. Et nous croyons d'autant plus à cette réalité puisque la photographie est censée ne pas mentir. Elle apparaît également parfois comme thérapeutique lorsqu'elle favorise l'abréaction des affects. Si la photo permet tout cela c'est parce qu'elle tire sa force du fait qu'elle est une trace physique d'une rencontre donnée (notion d'index). Elle joue le même rôle que la relique. Des recherches sous forme d'observations sur le terrain et de questionnaires passes auprès de collégiens et de professionnels viennent appuyer cette ontologie de la photographie.
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Brunel, David. "Corps et visage de l'image photonique : (la photographie vue de dos)." Montpellier 3, 2008. http://www.theses.fr/2008MON30041.
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Le thème général de cette thèse relève d’un partage, d’un dédoublement de l’image photonique. Cette dernière est présentée comme une chose géminée prise en étau entre fond et forme, face et dos, surface et profondeur, répartie entre copie et simulacre, support (corps de l’image) et surface (visage de l’image). Cette dualité, positionnée à l’interface de l’apparence et de l’apparition, de l’imitation et de l’imagination, induit un incurable tiraillement esthétique, une résistance théorique, une tension dans la représentation dont nous avons tenté de rapporter l’expérience (et de récolter les fruits). C’est à partir de ces points de rencontre, d’achoppement, d’instabilité, que l’image a été réfléchie. La procédure employée, d’obédience phénoménologique, s’apparente approximativement à un transplant de la photographie au sein de divers champs esthétiques (diversement orientés par l’ontologie, la poésie, la mythologie, la psychanalyse…) pour en constater l’acclimatation et/ou le rejet. Les opérations qui en découlent orchestrent un profond réexamen, en même temps qu’une redistribution statutaire, des critères estimés intrinsèques et essentiels de l’image photonique. Le possible glissement de l’eidos qui en découle : de la chose représentée (référent), l’Idée de la chose à connaître se tourne vers la chose représentante (médium), nous a permis de spéculer sur une photographie en tant que métaphore d’elle-même. Ces rotations esthétiques nous ramènent sans cesse vers l’ultime et premier lieu de forge du rapport aux choses représentées, à savoir : la représentation elle-même (cf. Exégèses de fin). L’ensemble de notre recherche se déploie sur un fond thématique sporadiquement perceptible dont les caractéristiques sont pensées comme symptomatiques du médium, il s’agit du retournement, de l’inversion, de la répétition et, principalement, de l’ambivalenceThe overall theme of this thesis relates to the division of the photonic image. The picture is seen as a twofold entity, caught between meaning and appearance, front and back, surface and depth, something halfway between copy and simulacrum, backing (body of the picture) and surface (face of the picture). This duality, interface of appearance and apparition, imitation and imagination induces an aesthetic questioning, a theoretical resistance, a tension in the representation that this work attempts to capture and analyse. It is from these obstacles, these unstable and stumbling encounters that the picture has been reflected upon. The process, in a phenomenological method, consists approximately in a transposition of the photography to the core of various aesthetics grounds (focused differently by ontology, poetry, mythology, psychoanalysis. . . ) stating its acceptance or rejection. The subsequent operations implies thorough re-examination, along with a statutory redistribution of the supposed intrinsic and essentials criteria of the photonic image from which a shift of the eidos is possible – the Idea of the element to be known moving from the represented element (referent) towards the representing element (medium). This swing has allowed us to speculate about a photography as a metaphor of itself. These aesthetic rotations endlessly take us back to the primeval place where the relations to the representations are created, i. E. The representation itself (see final exegesis). The whole of our research spans a sporadically perceptible thematic background, the characteristics of which are thought as symptomatic of the medium. It deals with reversal, inversion, repetition and above all ambivalence
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Aubert, Didier. "Photographie et progressisme : the Pittsburg survey, 1907-1914." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/aubert_d.
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Les six volumes du Pittsburgh Survey constituent l'un des documents-clés du mouvement progressiste américain. Sous la dir. De Paul U. Kellogg, une équipe d'enseignants, de journalistes, d'ingénieurs et de travailleurs sociaux s'attachèrent à décrire les conditions de vie dans les milieux ouvriers de la célèbre "Ville de l'acier", symbole du triomphe industriel américain. Comme le suggèrent les métaphores du "diagnostic" et du "cyanotype" (bluesprint), utilisées par Kellogg pour définir l'entreprise, cette oeuvre collective, contenant plus de 400 photographies, fut conçue dès l'origine comme une expériece menée sur Pittsburgh, et non seulement comme une tentative de représentation de la réalité urbaine. . .
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Barberini, Marta. "The Impact of Humanitarian Photography on the Generation of Sympathy and on Donation Behavior." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/18.
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This paper presents findings of an exploratory study to evaluate the impact of humanitarian photography on the generation of sympathy and donation behavior. Considering the large amount of money spent each year by charity organizations on marketing strategies, it seems crucial to shed light on the persuasive impact of images in this context. The overarching purpose of this study was to discern what impact, if any, a number of features in a photograph have on sympathetic reactions. Specifically the author examined facial expressions (sad vs. happy), eye contact vs. no eye contact and total number of subjects portrayed. Findings supported the hypothesis that sad expressions in photos would have greater sympathetic responses than happy expressions. The author hypothesized that direct eye contact would be more persuasive than indirect eye contact, but the data supported the inverse result: indirect eye contact elicited more sympathy than direct gaze. The third hypothesis, that single subject images would be more persuasive than multiple subjects, was not supported. The author concluded that results draw attention to sympathy-generating attributes of charity appeals that have been overlooked.
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Bach, Caroline. "Quand l’art contemporain s’intéresse à l’économie : espaces de travail et formes économiques en question." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30088.
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Dans un ouvrage intitulé Art et économie, Jean-Marc Huitorel indiquait, dans son introduction, que « l’artiste fournit des outils pour lire le monde ». Pour les artistes dont la pratique est tournée vers l’extérieur et consiste, entre autres, à fournir des outils pour lire le monde (Allan Sekula ou Alfredo Jarr, par exemple), un travail avec l’économie est inévitable, sans pour autant qu’ils en deviennent nécessairement des spécialistes. Que ce soit à travers des cartographies des flux ou des dispositifs explorant, à grande échelle, la mondialisation des échanges, ou que cela soit à une autre échelle, à travers les espaces et conditions de travail, ils s’inscrivent parfaitement dans le courant 'hétérodoxe' (qui revendique la pluralité des approches) et apportent toute sa légitimité au dialogue entre art et économieIn a book entitled Art and Economy, Jean-Marc Huitorel stated, in his introductio,n that 'artist provides tools to read the world.' For the artists whose practice is looking outward and consists, among other things, into provide tools to understand the read (Allan Sekula or Alfredo Jarr, for instance), an approach with economy is inevitable, without, however becoming necessarily specialists. Whether through flows cartography or exploring global trade mechanisms, on a large scale, or whether through a different scale, exploring spaces and working conditions, they fit perfectly into the current 'heterodox' (which claims the plurality of approaches) and give full legitimacy to the dialogue between art and economy
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Agbo, George Emeka. "Photography, facebook and virtualisation of resistance in Nigeria." University of the Western Cape, 2016. http://hdl.handle.net/11394/5465.
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Philosophiae Doctor - PhDNigerian post-independence history (1960 to the present date) is steeped in socio-political upheavals. The majority of the citizens are frustrated with the injustice, inequality and fraudulent politics that pervade the country. The central argument of this thesis is that these conditions are critiqued through the photographic practices produced on Facebook. Through the circulation of photographs and the conversations around them on the social media platform, Nigerians demand social change. The sociality that underpins the visuality of social networking is explained by Ariella Azoulay's notion of "civil discourse," which theoretically organises the thrust of this thesis. The formulation suggests that the photograph is an outcome of the interaction among many individuals. It is a site of exchange, a process which I have argued to be reinforced by digital and internet technology. For five years, I have followed the visual social production on Facebook in the context of virtual participant observation, downloading photographs and the comments that go with them. A number of the photographs and the accompanying comments are analysed with semiotic tools to understand the key concerns of Nigerians. To explain how the agitation is presented, and the efforts invested in the production, I have reflected on the related questions of technological mediations and appropriations. A network of digital infrastructure conditions the creation and editing of the photographs and their dissemination and meaning-making processes on Facebook. Again, the Nigerian example demonstrates how state failure fuels activism, insurgency and counter-insurgency, all of which are actuated by digital photographic production. In this situation, the photographic image is burdened with the task to produce violence and to counter it. What ultimately emerges are complex relations among people, photography and technology. I conclude that the virtual movement presents possibilities for socio-political transformation in Nigeria. From the perspective of photography, this thesis contributes to the debates in social media activism and how it is shaping politics in Africa. It demonstrates the possibility of reading the tensions in an African postcolony through the connected digital, visual and social practices of the ordinary people. We are prompted to acknowledge the influence of digital infrastructure in the political use of the image.
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Zare, Khalili Fathollah. "La photographie dans une société en transition : le cas de l'Iran." Paris 1, 2009. http://www.theses.fr/2009PA010633.
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Chaque moment de I'histoire voit naître des modes particuliers d'expression artistique qui sont en correspondance avec Ies manières de penser, les goûts et Ie caractère politique. Dans Ie monde d'aujourd'hui, la société iranienne, héritière d'une civilisation ancienne, est en qu&te de son identité. Ce pays, dans Ie domaine des arts visuels, avait ses propres particularités aujourd'hui remises en question. La photographie est un moyen d'expression typique d'une société établie sur la civilisation technicienne, consciente des buts qu'elle s'assigne, d'esprit rationaliste et fondée sur une hiérarchie de professions. En m&me temps, elle est devenue pour cette société un instrument de premier ordre. A partir d'un expose sur I'évolution de la photographie en Iran, nous nous demandons si Ie dispositif technique pourrait permettre la prise en compte des valeurs traditionnelles, que nous nommons aussi «régionales », du pays. Cette recherche implique une interrogation sur la capacité de I'acte photographique lui-m&me. S'agit-il d'un moyen a travers lequel Ie patrimoine historique et culturel d'une société comme celle d'iran. Puisse se manifester ? Au contraire Ies limites du dispositif d'une part, la dominance de la culture capitaliste, attaché a I'économie mondiale, de I'autre, n'affaiblissent elles pas la culture, les goûts et les arts régionaux pour finir avec une sorte d'harmonisation et d'homogénéisation des valeurs ? Au-delà de ces interrogations générales, Ia thèse évoque des limites liées a I'idéologie souveraine qui a eu des effets sur les activités artistiques dont celles de la photographie. Toute analyse des caractéristiques de la photographie iranienne doit tenir compte de cet élément. Mais finalement les obligations de I'industrie et Ie développement technologique dépendent de lois scientifiques et de calculs techniques qui échappent a I'idéologie. S'agissant de I'appareil technologique qu'est la photographie, aussi prégnantes soient les opinions « régionales et Ies valeurs traditionnelles, des lois de production et de fonctionnement tendent a imposer leur logique propre. L'objectif d'un artiste utilisant un tel appareil technique est de découvrir les productions particulières qui ne peuvent être créée que par I'intermédiaire de cet appareil. Une telle rencontre avec Ie dispositif technique suscite une sorte d'affaiblissement dans I'approche idéologique de I'artiste, condition d'une libération ultérieure.
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Bui, Quang Ngoc Adiba Michel. "Aspects dynamiques et gestion du temps dans les systèmes de bases de données généralisées." S.l. : Université Grenoble 1, 2008. http://tel.archives-ouvertes.fr/tel-00321849.
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Delage, Chollet Colette. "Pratique de photographie et de videoscopie familiales dans la France contemporaine." Toulouse 2, 2001. http://www.theses.fr/2001TOU20026.
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L'essor de la photographie, lié à l'expansion économique, a favorisé son approximation par les particuliers (démocratisation du portrait, pratique amateur). L'ethnologie a aussi utilisé la photographie puis le film (illustration, observation participante) avant de s'y intéresser en tant qu'objet d'étude. Cette recherche propose l'analyse de pratiques photo/vidéo familiales en France (1990-2000). L'état des travaux sur l'évolution récente de la famille et ceux relatifs aux pratiques de photographie familiale en situent les contextes. Outre les sujets des prises de vues, que représentent en elles-mêmes ces pratiques, quelles sont leurs relations avec les fonctionnements familiaux contemporains ? En quoi les pratiques photo/vidéo révèlent, traduisent, participent et/ou organisent des manières " d'être " en famille ? L'observation des corpus et l'analyse des pratiques photo/vidéo de 37 personnes, complétées par leurs commentaires, confirment la place centrale de " l'album " et son caractère sélectif mais saisissent aussi son rôle quant à la construction et la fragmentation du temps. Ces deux points expriment l'intention autobiographique de l'organisateur. L'analyse souligne également l'importance d'autres photographies non classées. L'intrication des rites familiaux et des rituels photo/vidéo lors de la constitution des alliances formelles et des unions libres et pour l'arrivée d'un enfant (naissance ou adoption) prouve que la photo/vidéo reflète/participe aux mutations familiales. Divorces, séparations, recompositions familiales ont des effets sur les pratiques. Celles-ci révèlent des attitudes actuelles au moment de la mort (" tabou " du corps mort) ainsi que les modalités de la gestion et de la transmission du patrimoine photographique familial. Déclenchant paroles et expression des affects, la photo/vidéo laisse ainsi paraître ses relations avec la mémoire individuelle et familialeThe development of photography, a result of economic growth, has led to its appropriatio by individuals (trought the democratization of the portrait and amateur photography). Anthropologists also used photographs then films (for illustration as participant observers) before becoming interested in them as an object of study in their own right. This research proposes the analysis of family usesof photographs and video in France (1990-2000). Work carried out on recent developments in the family and that related to family uses of photography define its context. Besides the actual subject of the views taken, what do these uses represent in themselves, how are they related to the functioning of contemporary families ? To what extent do the use of photographs or video reveal, translate, participate in and/or organise ways of "being" part of a family ? Observation of the corpus, together with an analysis of the way 37 people use photographs/video, complemented by their commentaries, confirms the central position and selective nature of the "album", but also its role in the contruction and fragmentation of time. These two points are expression of autobiographical intention of the organiser. The analysis also underlines the importance of the other photographs which are not included in the album. The intermingling of family rites and photographic/video rituals on the occasion of formal marriage celebrations or unofficial ones, or on the arrival of a child (by birth or adoption) proves that photography and video reflect and are a part of changes in family arrangements. Divorce, separation, re-formed families, all these have had an effect on their use. The way they are used is revealing of current attitudes in the face of death (the corpse as "taboo" and also of how the family's photographic inheritance is managed and transmitted. It is thus, that photographs and video, by provoking speech and expressing affects, provide an insight into their link with individual and family memories
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Valenzuela-Escobedo, Sergio. "Mänk’áčen : mécanique photographique, mysticisme et superstition chez les peuples originaires d'Amérique du Sud." Thesis, Aix-Marseille, 2021. http://www.theses.fr/2021AIXM0328.
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Toumayacha Alakana : cette expression populaire est à l’origine de ma recherche : elle signifie « regarder la tête couverte d’un voile ». C’est ainsi que les Fuégiens ont nommé l’acte de photographier au XIXe siècle, quand ils ont vu les premiers appareils photographiques avec les opérateurs qui ont débarqué en Amérique dès 1840. Quels noms les peuples locaux ont-ils donnés à ces nouvelles images-objets ? Comment cet outil inconnu a-t-il été perçu ? Que signifie d’être regardé la tête couverte d’un voile ? C’est par un changement de focale et une inversion du point de vue que cette thèse approche l’étude de l’acte photographique en Amérique du Sud. La compréhension de la photographie peut-elle changer si on l’aborde en l’étudiant à partir du regard que ces peuples portent sur l’appareil photographique ?Dire que les Amérindiens ne veulent pas être photographiés, en particulier parce qu’on « va leur voler leur âme », est un mythe colonial ; cette croyance occidentale donne de la valeur aux images que les explorateurs rapportent. La question du refus des appareils est beaucoup plus complexe et variée : la résistance peut porter sur la prise de vue, sur la circulation de l’image de soi, sur le caractère unilatéral de la transaction, sur l’incompréhension de l’appareil comme sur des conséquences politiques et spirituellesToumayacha Alakana : this popular expression lays at the root of my research. It means “to look with a veiled head”. It is how the Fuegians named the act of photographing in the19th century, when they saw their first cameras, as operators came to America around 1840.What names did native people give to those new images-cum-objects ? How was that unknown device perceived ? What does it mean to be looked at by a veiled head ? My doctoral research offers a shift of of focus and point of view on the act of photography in South America. Can our understanding of photography change if we take native peoples’ perspective on the camera as a starting point ?The idea that native people do not want to be photographed, especially because it would be “stealing their souls”, is a colonial myth. This western belief gave value to the images brought back by explorers. The reasons behind refusing the camera are much more complex and diverse : they can be about the camera angle, the circulation of the image of the self, the one-sided nature of the transaction, the lack of understanding of the device, or political and spiritual considerations
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Ractliffe, Jo. "Nadir : a graphic interpretation of dispossession and aspects of conflict." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/17181.
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Bibliography: pages 109-111.Dispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.
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Tiberi, Dominique. "La photographie et l'image de la Corse : 1839 1962." Caen, 1992. http://www.theses.fr/1992CAEN1117.
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Cette etude retrace l'apparition de la photographie et son developpement dans la societe corse dont la specificite a determine l'orientation de l'objectif photographique. La tentative d'analyse du role du dispositif photographique dans l'image de la corse utilise des elements plus specifiques a l'ile comme la notion de corps primitif ou d'une portee plus generale comme ceux de l'ombre et du double tels qu'ils apparaissent dans les mythes. Par la mise en lumiere qu'elle opere la photographie se presente comme l'alliee objective du pouvoir domin ant et l'ennui de la loi de l'ile. Obeissant ainsi a des regles etrangeres a la loi du corps primitif, la dispositif photographique diffuse des nouvelles normes d'existence tout en decoupant minutieusement la societe corse. L'etude tente de montrer combien cet affrontement entre les deux lois en presence a determine l'exercice de la photographie. L'analyse a ete menee d'un point de vue historique, sociologique mais aussi psychanalytique, a travers l'etude d'un album realise par un amateur. Le dispositif photographique a ete ainsi etudie du moment de son apparition jusqu'a son role dans la construction de l'image contemporaine de la corse.
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Williams, Sarah. "Depth of field : aspects of photography and film in the selected work of Michael Ondaatje." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2401/.
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This thesis examines aspects of photography and film in the selected work of Michael Ondaatje, specifically analysing their implementation and function within The Collected Works of Billy the Kid, Running In The Family, In the Skin of a Lion and The English Patient. Ondaatje's two films, Sons of Captain Poetry and The Clinton Special, as well as Anthony Minghella's film adaptation of The English Patient, are also examined. My critical approach is eclectic and driven by the demands of individual texts, focusing on some of the ways in which photography and film affect and help define the formal and thematic components of the prose works. My approach addresses photographic perspective and reader response with specific reference to the ontological nature of photographic stillness, as well as various components of filmic writing and the challenges of prose to screen transfer in cinematic adaptation. This study reveals how an exploration of the photographic and filmic aspects of the texts provides new insights into the way Ondaatje's work promotes indeterminacy of meaning and a blurring of the boundaries between genres.
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Leiva, Quijada Gonzalo. "Modernité et histoire de la photographie au Chili (1879-1920)." Paris, EHESS, 1997. http://www.theses.fr/1997EHESA033.
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Cette etude propose une reflexion sur l'image photographique et son role a l'interieur d'une societe traditionelle. Au meme temps, cette recherche s'insere dans une reflexion sur les indices tres visibles de la quete de modernite au chili. Nous observons a travers les documents photographiques comment la vision culturelle se modifie en fonction des diverses reponses apportees a la question cruciale de la capacite du pays face a la modernite. Pour son prestige dans le marche national reduit, la photographie sera consideree comme un patrimoine de l'elite urbaine a santiago et a valparaiso. La photographie se transforme en une expression de reference culturelle qui modele les aspects de l'image personnelle a travers le portrait. Nous pouvons constater par le biais de l'image documentaire uneperception social et de moeurs. Par ailleurs, la carte postale nous montre la transformation du paysage et de la geographie. La photographie chilienne dans les annees (1879-1920) alimente une source inepuisable pour comprendre les systeme socioculturel dans un contexte de developpement et de construction d'un imaginaire identitaire de la nation.
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Walton, Shireen Marion. "Camera Iranica : popular digital photography in/of Iran." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:7f6516bf-64c6-4551-b58c-08e42915183f.
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This thesis explores the contemporary genre of popular digital photography, with a specific look at photographs taken in/of Iran. It focuses on the contemporary practice of 'photoblogging' or photography-based weblogging. Photoblogs are the result of the daily posting of digital photographs concerning everyday life in Iran on personal blogs specifically dedicated to photography. The title of the thesis, Camera Iranica, refers to the subject and scope of the study, as well as to its digital-ethnographic field site. I demarcate this as a conceptual and transnational cultural field, encompassing the multitude of places and spaces, on- and offline in which Iranians across the world engage in the practice of producing and viewing popular digital photography. Iranian photoblogs are shown to operate in a manner contingent upon a particular 'visual legacy' of contested cultural identity politics since the Islamic Revolution of 1979, propagated inside Iran and in 'the West'. The thesis traces the social, economic and political implications of developments in photography and digital technologies in Iran in light of this backdrop, and explores how and why Iranians in Iran and abroad are taking up popular digital photography for visual storytelling projects, with 'Iran' as their visual subject. Based on the study's empirical findings, I extrapolate theoretical arguments concerning historical and cultural understandings of digital photographs shown and seen in online environments, and propose innovative methodological strategies for digital-visual anthropologists to continue work in these fields.
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Supartono, Alexander. "Re-imag(in)ing history : photography and the sugar industry in colonial Java." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11909.
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This thesis seeks to examine the ways that the success of the Dutch Empire at the turn of the twentieth century was represented and celebrated in the photographic albums of Dutch sugar industrialists in Java. It aims to show how the photographic practices that developed in the colony in parallel with its industrialisation informed the ways that the colony was imagined in the metropolis and the colony. Whether social portraiture, topographic studies or depictions of industrial machinery and infrastructure, the photographs of the sugar industry were part and parcel of a topical vernacular tradition that generated distinct visual themes in the development of popular photographic genres, and which reflected the cultural hybridity and social stratification of the local sugar world. This analysis is pursued through close reading of the photographic albums of the Pietermaat-Soesman family from the Kalibagor sugar factory in Java. These albums exemplify how the family albums of sugar industrialists retained the familiarity and cult value of the family album whilst illustrating the values and attitudes of the colonial industry and society. What is more, the Pietermaat-Soesman albums underline the significance of the albums' materiality; their story is not only one of images, but also a story of objects. I specifically pay attention to the role of photographers and commercial photo studios in the formulation of the pictorial commonplace of the sugar industry. It is the collaboration between sugar industrialists and colony-based photographers that reveals the social necessity, ideological constraints, pictorial conventions and cultural idioms of colonial industry and society in the Dutch East Indies. Largely understudied in both the Dutch and Indonesian histories of photography, this material, I argue, may problematise the ideological premises of ‘colonial' photography.
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Delpeux, Sophie. "Les formes de la disparition : art corporel et photographie : 1963-1983." Paris 1, 2004. http://www.theses.fr/2004PA010610.
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De l'art corporel, il ne reste que des traces disséminées dans des fonds d'archives. Au sein de ces ensembles constitués par les artistes, la photographie est omniprésente. À la fois preuve palpable de ce qui a été et signe d'une continuité brisée, l'image d'action - dont cette étude analyse l'usage par Carolee Schneemann, les actionnistes viennois, Gina Pane, Michel Journiac, Valie Export et Chris Burden - matérialise une histoire en creux de ces pratiques et de leur temps.
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Charpentier-Boude, Christine. "La photographie de groupe en classe comme palimpseste de l'institution scolaire : essai d'une approche sémiologique de ce document." Paris 10, 2006. http://www.theses.fr/2006PA100097.
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La photographie de groupe en classe constitue à force d'être répétée, et cela depuis le milieu du XIXe siècle, une partie de la mémoire de l'école et de la société qu'elle représente. Elle semble accompagner le deuil d'une multitude d'histoires scolaires et en même temps conjurer ces disparitions. Cette image particulière, mise en scène d'une réalité institutionnelle capturée par l'appareil photographique, répétée au cours d'un rituel codifié, conservée ou non par les usagers, loin d'être monolithique et univoque, paraît être porteuse d'un ensemble de significations institutionnelles et intimes. Cette photographie pourrait ainsi dire des choses sur ce et ceux qu'elle montre, mais aussi sur ceux qui la montrent. Elle pourrait dire des choses sur ce qui se voit, mais aussi sur ceux qui l'ont prise ou provoquée, sur ceux qui la gardent et la regardent, présents ou non sur le cliché. Témoignant d'un monde extérieur à la famille mais ayant sa place dans l'album familial, elle paraît être une zone intermédiaire entre l'individu, le groupe familial et le monde de l'école. Ce travail aborde les différents contenus, manifestes et latents, mêlant l'implicite et l'explicite, qui émergent de cette image et qui laissent penser que ce médium est porteur d'un imaginaire collectif doublé d'un imaginaire individuel. Cette recherche propose donc de "prélever" cette mise en forme particulière de l'institution scolaire pour en faire émerger du sens, cela en utilisant ce document non pas comme une simple illustration, mais comme un objet d'étude pouvant servir autant de mémoire que d'outil d'analyse. Les premières parties présentent une analyse historique, iconique et socio-institutionnelle de ce document et abordent cette photographie comme pratique rituelle de l'institution scolaire. La dernière partie s'intéresse plus particulièrement à ce cliché comme archive intime et aux rapports qu'entretiennent avec elle les usagers de l'école et des lieux de formation. La conclusion s'articule autour de ce qui pourrait se définir comme une approche "mythographique" de cette image et présente les prolongements possibles de cette rechercheSince the middle of the nineteenth century the photograph of class at school has become, year after year, part and parcel of the memory of the school and the society it represents. It seems to accompany the mourning of the great number of school stories and, at the same time, to prevent these disappearances. This particular picture, the setting of an institutional reality caught by the camera eye and repeated in a ritualistic code – treasured or not by its owners – far from being monolithic or unequivocal, seems to be conveying a mixture of institutional and personal impressions. This photograph may reveal things about what and who it in showing as well as about those who show it. It might reveal things about what you can see but also about the persons who took it or are responsible for it, about those who have kept it and look at it, either they are or not on the snapshot. Witnessing a world outside the family but staying in the family album all the same, it seems to be a go-between, linking the individual, the family group and the school world. This work deals with the different aspects, more or less obvious, mixing implicit and explicit, witch are born from this picture and make you think that this medium carries within itself both a collective and a personal imagination. Therefore this research offers to capture this peculiar illustration of the school establishment in order to reveal its meaning by using this document not just as a mere illustration but as an object of study that can be considered as a memory as well as an analysis tool. The first parts of this study will introduce a historical, iconic and socio-institutional analysis of this document and will consider this photograph as a ritualistic rite of the school establishment. The last part will see the snapshot as a more intimate archive and will deal with the relationships existing between the photograph and the users of the school and the training centres. Finally, the conclusion will consist in a "mythographical" approach of the class photograph and will present you with the possible branching-outs of this research
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FELIPE, Carla Beatriz Marques. "Os aspectos sociocognitivos para a indexação de fotografias." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/17608.
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Esta dissertação aborda a história da fotografia apresentando a sua importância para a sociedade desde a sua invenção e a descreve como documento e suas variadas formas de disseminação da informação. Em consequência, explica a relação entre fotografia e memória, destacando a primeira enquanto um dispositivo de memória institucional. Nesse cenário, foi abordada a indexação de fotografias, bem como o seu processo de execução e os aspectos linguístico, lógico e cognitivo a ela envolvidos. Por conta disso, foi realizada uma pesquisa exploratória em duas instituições que possuíam acervo fotográfico, cujo objetivo geral foi analisar os aspectos sociocognitivos inerentes ao procedimento de indexação de fotografias e, de cada instituição, participaram dois bibliotecários indexadores. Esses profissionais indexaram quatro fotografias, sendo duas de cada instituição participante. O instrumento de coleta de dados utilizado foi o Protocolo Verbal Individual. Os principais resultados mostraram que por meio da cognição que o indexador faz a leitura das fotografias e analisam qual o tema da foto. Para isso, faz uso das memórias de curto e longo prazo e também da percepção sensorial. Os aspectos sociocognitivos influenciam diretamente o processo de indexação, pois são estes aspectos que regem o modo como os bibliotecários fazem a pesquisa para coletar informações sobre o acervo. Se utilizam ou não um vocabulário controlado para a tradução dos termos. Para a análise de assuntos os bibliotecários analisam as fotografias de maneiras muito parecidas com as metodologias sugeridas para estes procedimentos, sempre partindo do geral para o específico. Como última categoria analisada temos os descritores. Estes sofrem influência direta das categorias anteriores. Para a escolha dos descritores, entre todas as metodologias apresentadas no trabalho, como a de Rodrigues, Shatford, Manini, Panofsky e Bléry, a metodologia de Bléry (1979) é utilizada, de fato, pelo menos em uma instituição pesquisada.
This dissertation approaches the history of photography presenting their importance to society since its invention and it is described as a document and its various forms of information dissemination. As a result, it explains the relationship between photography and memory, highlighting the first one as an institutional memory device. In this scenario, the indexing of photographs was studied, as well as its implementation process and linguistic, logical and cognitive aspects involved with it. Because of this, an exploratory survey was conducted in two institutions that had photographic collection, whose main objective was to analyze the socio-cognitive aspects of the photographs indexing procedure. In each institution two indexers librarians attended it. These professionals indexed four photos, two of each participating institution. The data collection instrument used was the Single Verbal Protocol. The main results showed that through the cognition an indexer reads the photographs and analyzes what is its subject. To be successful, he uses short and long term memory and also sensory perception. Social cognitive aspects influence directly in indexing process, as these are aspects that govern how librarians do the research to gather information about the collection. If they should use or not a controlled vocabulary for translation of terms. For topics analysis, librarians analyze the photos in very similar ways to the methodologies suggested for these procedures, always from the general to the specific. As a last category we analyzed the descriptors. These ones suffer direct influence of the previous categories. For the choice of descriptors, the Bléry methodology (1979) is used, in fact, at least in one research institution.
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Gatward, Cevizli Antonia. "Beyond Bellini : aspects of Italian-Ottoman cultural exchange 1453-1512." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/49653/.
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Venice has dominated the study of Ottoman-Italian cultural exchange in the Renaissance period, both in publications and, more recently, exhibitions. However, Venice did not have the monopoly in terms of relations with the Ottomans. This thesis looks further afield than Venice and beyond Gentile Bellini’s 1479-81 sojourn in Istanbul, arguably the best-known instance of such intercultural exchange, to reveal the complexity and diversity of Ottoman-Italian contacts and its varied cultural repercussions. This thesis considers the period 1453-1512 covering the reigns of Mehmed II and Bayezid II. It is not a study of cultural exchange through the trade of luxury goods, but instead focuses on the consequences of specific encounters that are mostly diplomatic. These encounters are explored in four case studies: Rimini, Venice, the Papal States and Mantua. Preferring microhistory to large historical generalisations, the scale of investigation in each section is limited to a particular moment of interaction between that region and the Ottoman Empire, and focuses on the individuals involved. Events are considered from both the Italian and Ottoman perspectives in order to reach a more rounded understanding of this complex meeting of cultures. It looks beyond painted and medallic portraits and demonstrates that Ottoman-Italian interaction can be perceived across a range of media. The marks left on Italian visual culture by relations with the Ottomans are revealed to have been as varied as each individual state’s experience. Comparison of each state’s connections with the Ottomans reveals significant differences in their dealings but also highlights certain common aspects such as the role of individuals as channels of exchange, the categories of objects which travelled across Europe and the manner in which cultural and technological exchange were often entwined. By bringing together three other city-states apart from Venice in a single narrative, this thesis provides a more nuanced account of the rich and varied forms of cultural exchange that have long been overshadowed by Bellini’s portrait.
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Chiller-Glaus, Sarah. "Testing the limits of face recognition : identification from photographs in travel documents and dynamic aspects of emotion recognition /." [S.l.] : [s.n.], 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?sys=000281129.
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Massin, Pascale. "Dépistage de la rétinopathie diabétique : aspects techniques et organisationnels." Paris 7, 2002. http://www.theses.fr/2002PA077122.
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Peretti, Pascale. "La "ritualité héroïnomaniaque" : à propos d'un mode d'initiation à la négativité." Montpellier 3, 2008. http://www.theses.fr/2008MON30048.
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Loin de pouvoir être ramené à cet unique désir, mortifère, de retrait du sujet sur un narcissisme quasi-absolu, qui semble d'abord l'animer, le modèle d'expérience héroïnomaniaque pourrait se présenter comme une tentative, pour des individus placés dans des situations liminaires, d'interroger la question de leur appartenance à "la communauté des vivants". Comme dans le phénomène de la liminarité rituelle, c'est dans un mouvement de retournement subjectif et social vers leur simple "vie nues" - à travers cette épreuve désubjectivante et désidentifiante de "mort symbolique" que semble représenter la "descente aux enfers" - que les toxicomanes, fondamentalement exposés à la perte et au risque mortel, interrogent les fondements de la communauté dans laquelle ils tentent peut-être violemment de s'inscrire. Le rapport du sujet contemporain à sa "vie nue", par ses potentialités radicalement altérisantes, se présentant comme une nouvelle forme, postmoderne, du rapport au SacréThe model of the heroin-addiction experience, far from reducible to this sole, death-bearing, desire of the subject's retreat to a quasi-absolute narcissism, that seems at first to motivate it, could appear as an attempt, for individuals in liminary situations, to question their membership in "the community of the living". As in the phenomenon of ritual liminarity, it is within a move of subjective and social reserval towards their simple "bare life" - through the de-subjecting and de-identifying experience of "symbolic death" that seems to be present in their "descent into hell" - that the drug addicts, fundamentally exposed to loss and mortal risk, question the foundations of the community that they are trying, perhaps violently, to join. The rapport of the contemporary subject with their "bare life", due to radically otherising potentialities, appears as a new, postmodern, type of connexion to the Sacred
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Kwiatkowski, Maksymilian. "Backwards, forwards and in-between : nostalgic landscapes, photography, identity and the return journey 'home'." Phd thesis, School of Geosciences, 2007. http://hdl.handle.net/2123/10237.
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Lemay, Yvon. "Peter Henry Emerson : essai sur l'histoire sociale de la photographie." Doctoral thesis, Université Laval, 1990. http://hdl.handle.net/20.500.11794/33506.
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En étudiant le cas du photographe Peter Henry Emerson (1856-1936) à partir du discours tenu par les historiens de la photographie sur son principal traité (Naturalistic Photography) et sur son oeuvre, cette thèse vise non seulement à montrer la pertinence d'une approche sociale de 1'histoire de la photographie, mais à faire état de 1'importance des travaux du sociologue Pierre Bourdieu pour les fondements théoriques d'un tel type d'approche. En effet, des théories comme la division du domaine artistique à partir du dix-neuvième siècle en deux secteurs d'activités (champ de production restreinte et champ de grande production), la surdétermination des oeuvres d'art ainsi que 1'inégalité des compétences artistiques entre les couches sociales remettent en cause les rapports généralement posés entre la photographie à des fins artistiques et la société et entraînent une redéfinition de l'objet de 1'histoire sociale de la photographie. Redéfinition non sans conséquences sur 1'analyse des oeuvres et des écrits des photographes. En procédant dans 1'optique des travaux de Bourdieu, 1'analyse sociale des oeuvres photographiques de P.H. Emerson ne consiste plus à déterminer en quoi le contenu et la forme de ces oeuvres trahissent la vision d'un groupe en particulier. Elle vise, au contraire, à mettre en évidence comment ce n'est pas à 1'intérieur des oeuvres mais à 1'extérieur d'elles que l'impact du social se fait sentir, dans leurs liens avec l'univers de la production et 1'univers de la consommation, c'est-à-dire avec les autres types de production photographique et les conceptions esthétiques en présence parmi le public. En ce qui a trait à 1'analyse des écrits, 1'application des idées du sociologue français est non moins novatrice. Plus qu'une analyse de contenu cherchant à cerner 1'intentionnalité d'Emerson, et de là son idéologie, l'étude du traité Naturalistic Photography tend à établir comment les propos du photographe traduisent sa situation dans le milieu de la photographie. Autrement dit, 1'analyse de Naturalistic Photography est 1'occasion d'établir les principaux paramètres en vertu desquels s'élabore la pratique du photographe. Ainsi, c'est à une toute autre conception de 1'histoire sociale de la photographie que nous convient les travaux de Pierre Bour— dieu. Une toute autre conception qui permet, croyons-nous, à 1'historien d'assumer pleinement le rôle "critique" qui doit être le sien dans la société: mieux comprendre le passé afin d'aider à mieux agir sur le présent.Montréal Trigonix inc. 2018
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Bélanger, Michelle. "Vers le paysage : photographie et aménagement des territoires miniers." Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/34173.
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Depuis ces dernières années, un changement d’attitude se fait sentir envers les territoires miniers. Longtemps perçus comme dégradés, voire ruinés, ces territoires se révèlent aujourd’hui comme d’importants témoins historiques et sont en conséquence conservés en tant que paysages patrimoniaux . En 2012, par exemple, le Bassin minier du Nord-Pas de Calais , transformé par l’exploitation du charbon, fut inscrit sur la Liste du patrimoine mondial en tant que paysage culturel vivant évolutif. Portant des caractéristiques uniques, les paysages miniers sont également de nos jours mis en valeur par certaines collectivités comme attractions touristiques. Au même titre que les paysages naturels, ils deviennent d’importants vecteurs de développement économique . La mine, exploitée normalement pour les ressources qu’elle contient, se voit ainsi attribuer de nouvelles valeurs et, également, de nouvelles fonctions. Il s’agit là d’un renversement important dans la façon dont ont été conçus les territoires façonnés par les activités minières . En effet, qui aurait cru que l’on allait gérer et aménager un jour ces territoires à la manière de beaux paysages ? Traduisant cette nouvelle attitude envers la mine, de plus en plus de photographes de tout horizon en font maintenant des représentations paysagères . Les artistes, par exemple, mettent en valeur les formes des territoires façonnés par l’exploitation minière à travers des images qui en révèlent l’esthétique. Avec l’arrivée du numérique et du partage de photographies en ligne, ce type de représentations se voit d’ailleurs récupéré par les photographes amateurs constamment à la recherche de lieux spectaculaires à mettre en images. Diffusées en nombre toujours croissant sur le web, ces photographies ne semblent pas uniquement témoigner de la nouvelle vision paysagère des territoires miniers . En effet, elles auraient aussi la capacité de la former. La présente recherche a pour objectif de mieux comprendre le développement de cette nouvelle sensibilité paysagère envers les espaces miniers. Puisque l’image photographique se dessine comme témoin et possiblement comme acteur de ce nouveau phénomène, cette dernière est utilisée comme fil conducteur afin de mieux saisir comment on fait de la mine un paysage. Ayant le Québec comme terrain d’étude, ce projet analyse les pratiques par lesquelles les territoires miniers sont façonné s et aménagés en tant que paysage, soit par la patrimonialisation, l’appropriation touristique et la naturalisation. Ces pratiques, qui procèderaient à un empaysagement minier, sont ensuite sondées par l’entremise de la photographie et des modèles paysagers qu’elle produit. Rapidement, l’image se révèle comme influençant non seulement le regard porté sur le territoire minier, mais également comme guidant la façon dont on l’investit ou l’habite une fois qu’il est conçu en tant que paysage . Photographie et aménagement des territoires miniers s’orientent donc maintenant , de plus en plus, vers le paysage.These past years, a change of attitude towards mining territories can be felt. Long seen as derelict or even ruined, those territories are now perceived as important historical witnesses and are, therefore, preserved as heritage landscapes. In 2012, for example, the Nord-Pas de Calais Mining Basin was included in the World Heritage List as an organically evolved cultural landscape. Having unique characteristics, mining landscapes are also requalified, in certain regions , as touristic attractions. They then become , just as natural landscapes are today, vectors of economic growth. The mine, harnessed for its natural ressources, is now assigned new values and, as well, new roles. Indeed, who would have thought that it would one day be managed and planned the same way beautiful landscapes are ? Conveying this new attitude towards mining sites , more and more photographers, from all backgrounds, represent them as landscapes. Artists , for example, showcase their wide range of shapes through esthetic images. With the advent of the digital era and online photography sharing, the amateur photographer , who is always searching for spectacular places to photograph , reclaims this type of representation. Disseminated on the web in an ever - increasing number, these photographies do not only attest of a new way of seeing mining territories as landscapes, but without a doubt also shape their perception. This research aims mainly at better understanding the spread of a new way of perceiving mining sites as landscapes . Since the photographic image stands as a witness and possibly as an actor of this phenomenon , it is used as the connecting piece to examine how mines can become landscapes. Focusign on the province of Quebec , this thesis analyses the practices through which mining sites are modeled and converted into landscapes, like patrimonialization, tourism development and nature restoration. These pratices, taking part in a process called empaysagement minier (mining landscaping), are then examined through photography and the landscape archetypes it produces. The photographic image quickly reveals itself as influencing not only the way we see mining sites, but it also seems to guide the way they are reappropriated and inhabited once they are perceived as landscapes . Therefore, photography and planning of mining territoires both reveal themselves as being more and more landscape oriented .
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Coltelloni, Anne. "Le documentaire comme forme symbolique." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00812350.
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L'étude sur le documentaire a suscité ces dernières années de nombreuses approches : historique, rhétorique, pragmatique, stylistique. Celles-ci posent la question de la réalité dans le film ou dans la photographie, problématique récurrente du documentaire. C'est à nouveau cette interrogation qui sera abordée dans cette recherche. La perspective envisagée a l'ambition de synthétiser toutes ces approches en remontant à l'origine de la photographie, au dix-neuvième siècle, et en faisant valoir sa spécificité d'image. Un parcours photographique est proposé montrant en quoi l'image photographique a pu bouleverser notre rapport à la réalité. Cette ambition synthétique a trouvé son fondement dans un concept original initié par le philosophe allemand Ernst Cassirer : la forme symbolique. Il s'agit d'une logique culturelle qui propose de se placer au cœur de nos réalités et d'analyser les principes qui les gouvernent. Le point d'ancrage d'une telle philosophie repose sur la culture comprise comme une réalité relative. Dans cette perspective, l'image photographique en tant que documentaire est considéré comme un lieu donnant à penser une réalité ? Comment ? Cette recherche nous amène à envisagé trois moments pour l'élaboration de cette forme symbolique particulière : 1) l'invention d'une image-monde que l'image photographique a suscité ; 2) la survivance des réalités contenues et transformées dans cette image-monde ; 3) la création d'un lieu de mémoire par la constitution d'un patrimoine photographique.
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Làzaro, Angelique Maria. "An informed community's perception of the impact of digital technology on the credibility of news photography." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002905.
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South African photojournalists’ perception of digital technology’s impact on the credibility of news photographs is investigated in this study. Digital technology has the capabilities to produce “manipulated” photographs that appear realistic and credible. Credibility is dependent on a variety of factors including codes of realism and codes of production, which fit conventional codes of photographic representation. Manipulation is the act of deviating from accepted codes of photographic representation that may jeopardise the credibility of news photography. This thesis proposes a new theoretical framework that encompasses existing theories of semiotics, ideology, naturalism, realism and credibility. These theories underpin the definitions and discussion on manipulation and credibility. A descriptive survey is used which attempts to discover photojournalists’ views towards credibility. This research draws on qualitative research methods using a largely qualitative questionnaire, which generates both qualitative and quantitative data. The questions are formulated around two case studies of digitally manipulated photographs. The trends and responses in the research data are connected and discussed. The findings of this study are discussed in terms of credibility, awareness of the digital changes, the reason for the changes, the role of a caption, deletion techniques and background changes. The empirical situation is analysed in relation to the theoretical discussions and this study’s theorisation of photographic representation.
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Demers, Sylvie. "LES RÉCURRENCES DANS LA REPRÉSENTATION PHOTOGRAPHIQUE D'ENJEUX INTERNATIONAUX ET INTERCULTURELS : LOGIQUES, NORMES ET CONTINGENCES." Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28310/28310.pdf.
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