Literatura académica sobre el tema "Photography of women"
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Artículos de revistas sobre el tema "Photography of women"
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Adhitia, Tiara Sekar, M. Kholid Arif Rozaq, and M. Fajar Apriyanto. "Pin Up Style dalam Fotografi Fashion Kontemporer." spectā: Journal of Photography, Arts, and Media 3, no. 1 (August 5, 2019): 61–72. http://dx.doi.org/10.24821/specta.v3i1.3123.
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Fashion becomes a social symbol that gives the cultural identity to a person. Pin up style has existed since the late 1950s. This style which is a combination of urban style and pop culture is identical with a light, tight, and semi-open dress. The image sticking on pin up style fashion makes the women called as "teasing ladies". The chosen genre is contemporary fashion photography that is a genre in photography which aims to show the clothes and other fashion items influenced by the impact of modernization.The result of this final assignment project is a series of fashion photography which uses the fashion style of 1950s that is pin up style. In every visualization of the creation of this photographic work, it aims to present the story based on the ideas and the concepts as well as to introduce the type of pin up style for each photograph. The background, the property, the make up, the hair style, as well as the surrounding objects are used to support the story in the resulted photographs. Keywords: pin up style, fashion, contemporary fashion photography
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Göthlund, Anette. "Den omöjliga kvinnligheten." Tidskrift för genusvetenskap 21, no. 3 (June 16, 2022): 65–74. http://dx.doi.org/10.55870/tgv.v21i3.4381.
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Although there are pictures of men and women with erotic or sexual overtones in many visual genres the focus of this article is on fashion images. In our current research project, The Different Worlds of Fashion Images - Fashion Photography as Imagery and Communication, my colleague Anna Tellgren and I have focused on fashion imagery in our culture because it plays such an important role in our everyday visual experience. Moreover fashion photography has a long tradition of creating iconographic conventions in the representation of the female body, which have become a part of our understanding of the appearance of the female. Fashion photography can be studied, as can advertisements and art, as a visual discourse that demonstrates woman's role as a sign. In this paper I demonstrate that the manner in which fashion photography represents woman and femininity is part of a pictorial tradition. I show how an essential quality in art history, as well as in the photographic mediums own history, is the objectifying of the female body. The photograph has also served as a crucial agent in establishing links between consumer culture and sexualized images of women. In present day fashion photographs we frequently encounter a type of femininity constructed out of conflicting visual signs that either literally or symbolically combine the virginal body of the young girl with the sex appeal of a mature woman. I argue that this 'impossible' femininity is a construction that may give rise to feelings of ambivalence in or be rejected by female and by male viewers, although I also suggest that the male viewer observing this image from a secure position may be tempted by it. I maintain too that because this image of 'impossible' femininity denotes a totally fictitious woman she presents no real threat.
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Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.
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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them to a so-called assembly center (Figure l). The photograph would appear at first glance to tell a very different story. The women smile and extend their arms out of a raised train window to wave goodbye, as if they are embarking on a vacation or some other pleasant excursion. The Albers photograph is not an exception to the photographic record of incarceration. In the thousands of photographs made of the incarceration process by government photographers, independent documentarians, and “internees,” it is much more difficult to find photographs that portray suffering than it is to find images of smiling prisoners.Not surprisingly, these photographs of smiling Japanese Americans are unsettling for those scholars, curators, and activists who have worked to expose the injustices of the wartime imprisonment. The smiles are charged for several reasons: They appear to belie the injustice of incarceration and the suffering it caused, they are reminiscent of the ugly stereotype of the grinning Oriental, and they suggest that those portrayed were entirely compliant with the government's racist agenda.
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Schulze Tanielian, Melanie. "Defying the Humanitarian Gaze: Visual Representation of Genocide Survivors in the Eastern Mediterranean." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (June 2023): 186–211. http://dx.doi.org/10.1353/hum.2023.a916996.
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Abstract: This article is a critical encounter with the genre of humanitarian photography through the case study of images of women survivors of the Armenian Genocide. Viewing photographs taken as part of the American humanitarian campaign in the Eastern Mediterranean, the article exposes the universalizing modality of humanitarian photography while exposing mass atrocities as perpetuating the silencing of victims by reducing them to symbols of suffering. Through an indexical, forensic, and critical fabulatory engagement with the humanitarian photograph, the article aims to unsettle the universalized humanitarian body and explore the possibilities that lie at the boundaries of traditional historical methodologies. Firstly, it exposes the constraints of reading the image solely within the framework of the humanitarian index, highlighting the resulting silences. Secondly, the forensic reading, while placing the photograph in the context of the larger textual archive, provides glimpses into the local circumstances surrounding its creation but still violently mutes the photographed. Lastly, inspired by the method of critical fabulation, the article embraces a speculative reading to reimagine the lives and experiences of the women in the photograph based on imaginary possibilities. Deploying a method that attends equally to archival content and that which is impossible to discern allows us to shift the focus to those who are visible photographically but are nonetheless invisible in the archive and muted by being forced to perform as part of the humanitarian index.
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Lee, Christopher J. "Durban Moments." Nka: Journal of Contemporary African Art 2023, no. 53 (November 1, 2023): 138–51. http://dx.doi.org/10.1215/10757163-10904160.
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This essay reviews a series of photographs by South African photographer Omar Badsha exhibited as part of Sharjah Biennial 15 (SB15). Collectively entitled Once We Were Warriors: Women and Resistance in the South African Liberation Struggle (1981–1999), the thirty-one images selected for SB15 highlight the role of women as political activists during the 1980s and 1990s across South Africa. The essay discusses Badsha’s biography and approach to photography, in addition to appraising the images themselves.
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SHARANYA. "An Eye for an Eye: the Hapticality of Collaborative Photo-Performance in Native Women of South India." Theatre Research International 44, no. 02 (July 2019): 118–34. http://dx.doi.org/10.1017/s0307883319000014.
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This article examines the haptic politics of the Native Women of South India: Manners and Customs (2000–2004) ‘theatre museum’ composed by Indian performance artist Pushpamala N. and British photographer Clare Arni. Through a transnational collaboration, Native Women re-creates a visual genealogy of ‘popular’ Indian women images, reckoning with legacies of colonial and photographic studio photography. The article focuses on the engagements of Native Women with colonial representations of ‘the native’ (woman) in particular and asks: How does a transnational project resituating colonial ethnographic practices inform feminist performance methodologies? How does this photo-performance develop a haptic attempt at transnational solidarity? In what ways do haptic entanglements with photo-performance constitute new imaginations for collaborative practices? The article repositions Native Women as a performance work that reflects collaboration as a process of political intimacy.
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Vorontsova, T. A., and A. G. Artamonova. "Face VS Figures: Features of Constructing the Age of an Unfamiliar Person Based on the Perception of His Portrait and Height Photographs." Experimental Psychology (Russia) 16, no. 3 (October 27, 2023): 34–52. http://dx.doi.org/10.17759/exppsy.2023160303.
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<p>The aim of the work was to identify the features of constructing the age of an unfamiliar person based on the perception of his face (portrait photography) and physique (height photography). The main method was the procedure of "Photovideopresentation of the appearance" by T.A. Vorontsova. Photographs of four women and four men of different ages were presented to the subjects of perception for age assessment; the eye movements of the subjects of perception were tracked using the Gazepoint GP3 Eye Tracker. The sample of perception subjects included 76 people &mdash; 38 men (M=28.84 years) and 38 women (M=28.79 years) aged 21 to 59 years. Results: 1) the perceived age of an unfamiliar person, constructed by the observing subject on the basis of the perception of a face (portrait photograph), significantly differs from the age constructed on the basis of the perception of his integral appearance, presented in a growth photograph. The differences are mediated by the gender-age characteristics of the object of perception; 2) the number of fixations in solving the problem of determining the age of an unfamiliar person when considering his portrait photography is significantly greater than when considering a growth photograph, regardless of the gender and age characteristics of the object of perception; differences in viewing time are mediated by gender and age of the object of perception: the face of women and mature adults is viewed longer than photos of their integral appearance (growth photos); 3) the number of fixations and the time of viewing the faces of women is significantly more than the faces of men; there are significantly more faces of mature people than young people; the number of fixations in the perception of a growth photograph of women is significantly greater than a growth photograph of men; 4) the greatest concentration of views in determining the age of an unfamiliar person is focused on his face, regardless of the accessibility to the perception of body features. The "triangle of interest" in the perception of portrait photography (forehead, bridge of nose, eyes, nose, upper lip) is described; when perceiving a growth photograph, the zone of the greatest concentration of fixations includes 2/3 of the upper left part of the face of the object of perception and captures the hair, forehead, ear, nose, eyes. The results obtained are discussed in the context of a communicative approach to perception research.</p>
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Janeiro, Ana. "The Archive is Present: Performing a Story of Dictatorship Through the Family Album." Master, Vol. 5, no. 2 (2020): 32–35. http://dx.doi.org/10.47659/m9.032.ess.
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This essay describes an investigation into a family photographic archive that belonged to my grandparents and represent a period in Portugal’s past (1940–1975) scarred by one of the longest dictatorships in history. The research carries out an ‘iconographic’ analysis of the photographs in the family albums and on how these were influenced by the consistent and highly visual propaganda of the New State regime (1933–1974). It demonstrates how the iconography of this visual propaganda embedded itself into the family album, specifically regarding its propaganda strategy and its ideology and politics towards women. Later these findings were explored through performance photography, creating a photographic body of work. Focusing mostly on the figure of my grandmother and exploring pose and gesture, which were subsequently re-performed for the camera. The information contained within the archive images is re-written within the performance images. Keywords: photography and performative, visual propaganda, dictatorship, archive, visualization of the role of women
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Kelly, Marjorie, and Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf." Hawwa 19, no. 1 (February 22, 2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.
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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-political commentary. The media coverage of Qatar’s Shaykha Mūza is analyzed in terms of her use of clothing as nonverbal communication and as a form of soft-power politics. It is followed by a discussion of the rules – formal and informal – for publishing photos of females. The paper concludes with a survey of Gulf females’ use of selfies. Thus, three aspects of photography – as art, as photojournalism, and as private communication – demonstrate how Gulf women visually represent their identities.
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Castillo Troncoso, Alberto del. "X’oyep’s Women: History, Memory, and Photography." Mexican Studies/Estudios Mexicanos 39, no. 2 (2023): 271–301. http://dx.doi.org/10.1525/msem.2023.39.2.271.
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This article revisits one of the most iconic moments in the recent history of photojournalism in Mexico: the Zapatista uprising at Chiapas in 1994. Throughout the essay, the publication of Pedro Valtierra’s famous photograph of a group of women who bravely confronted the Mexican Army on January 3, 1998, which immediately obtained international recognition, is reviewed, followed by an analysis of the photographer’s work, as well as the historical context within which the images depicted are situated. Through the analysis of photographs, combined with the narrated experiences of the photojournalists who created them, I examine the development of new political identities, such as indigenous Zapatista women, as well as the changing roles of photographs and the media press during the last years of the twentieth century.
Tesis sobre el tema "Photography of women"
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Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.
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Tsao, Kai-Wen Evangeline. "Photographing desire : women exploring sexuality through auto-photography." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/11536/.
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Feminist debates since the second-wave movement frequently construct ‘women’s sexual liberation’ and resistance to patriarchal heteronormativity as oppositions. This framework oversimplifies the interwoven relationship between personal and cultural constructions of women’s sexuality; furthermore, it risks overlooking individuals’ lived experiences and emotions. This research investigates the multiplicity and complexity of ‘women’s sexual desire’ by engaging with feminist symbolic interactionism and ideas from queer theories. How does a woman negotiate her personal ‘web of desire’ within social conventions? The project adopts auto-photography – a participatory method incorporating self-photography, journaling and interviews – to engage 18 UK women residents from seven countries in the co-creation of knowledge. This method encourages women to actively develop ideas; thus, it has an activist potential to reveal underrepresented meanings of women’s sexuality. In addition, the methodology generates rich textual and visual materials that demonstrate the depth of participants’ self-analysis and reflexivity. Multiple analytical methods (thematic analysis, discourse and narrative analysis, social semiotics) are deployed to read the women’s narratives critically, as well as representing them as valid. Desire is fluid, and women explore its meanings through metaphors and symbols. The women’s understanding of desire is negotiated within four cultural sites – Christianity, ethnicity, popular culture and feminist ideas – through which they might adopt, reject or struggle with dominant sexual scripts. Their sexual feelings are embodied experiences that can be generated through four preconditions: a positive perception of body image, sensations, fantasy and intimate relationships. The diverse ways in which participants visualise their sexuality reaffirm that each woman’s desire can be understood as a web interwoven by personal identities, social interactions and cultural scenarios in a continuous process. In particular, the extensive references to popular culture suggest that its sexual scripts are influential in constructing women’s desire.
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Skidmore, Colleen Marie. "Women in photography at the Notman Studio, Montreal, 1856-1881." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq46921.pdf.
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Bryant, Susan C. "The Beautiful Corpse: Violence against Women in Fashion Photography." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/158.
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My senior thesis deals with contemporary depictions of sexualized violence against women in fashion photography. Images of bloodied, bruised, and dead-looking models have proliferated in fashion magazine editorials and advertisements since the 1970s and I want to explore why sexualized violence is seen as sexy and compelling advertising, in light of the fact that domestic violence is the greatest cause of injury to women in America. I produced my own fashion photographs in locations of actual female homicides in Los Angeles County, particularly those nearest to Claremont, with the use of The Los Angeles Times online homicide database, which pinpoints every homicide reported in L.A. County since 2007. We live in a world plagued by violence and by creating my own violent, fashion photographs in actual homicide locations, I hoped to jar the viewer out of neutrality and expose violent advertisements and editorials for what they are: objectifying, exploitative, and perverse expressions of hostility against women. The images abuse and demean commercial speech privileges and glamorize and trivialize horrific, actual experiences of violence suffered by countless women.
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Crinall, Karen Maree, University of Western Sydney, and Critical Social Sciences Research Group. "Imag(in)ing women as homeless : re/tracing socially concerned photography." THESIS_XXX_CSSRG_Crinall_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/453.
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This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to generate truth/power effects.Thus, the thesis re/traces the representation of homeless women in a range of visual texts and ask how this construct has been discursively produced and deployed. In order to explore how socially concerned photography has contributed to, and made use of the idea of homeless, or destitute woman, examples are drawn from a range of photographic genres. These include traditional social documentary, public collections of photographs, photojournalism and publicity materials.The selected images, the circumstances out of which they emerge, and those in which they are read, are interrogated along, and with the consideration of the interconnections between axes of gender, genre, race, class and power. The inquiry does not aim to establish a unitary source, or coherent trajectory of the visual representation of the homeless woman, because origins, particularly of ideas, are always contestable. Rather, a primary aim is to expand the field of possibilities for the visual portrayal of women's experiences of homelessness.<br>Doctor of Philosophy (PhD)
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Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/453.
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This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to generate truth/power effects.Thus, the thesis re/traces the representation of homeless women in a range of visual texts and ask how this construct has been discursively produced and deployed. In order to explore how socially concerned photography has contributed to, and made use of the idea of homeless, or destitute woman, examples are drawn from a range of photographic genres. These include traditional social documentary, public collections of photographs, photojournalism and publicity materials.The selected images, the circumstances out of which they emerge, and those in which they are read, are interrogated along, and with the consideration of the interconnections between axes of gender, genre, race, class and power. The inquiry does not aim to establish a unitary source, or coherent trajectory of the visual representation of the homeless woman, because origins, particularly of ideas, are always contestable. Rather, a primary aim is to expand the field of possibilities for the visual portrayal of women's experiences of homelessness.
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Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041103.175604/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"A thesis submitted for the degree of Doctor of Philosophy, Critical Social Sciences Research Group, University of Western Sydney" Bibliography : leaves 312-335.
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Spenny, Anne M. "Portrait of a young woman /." Online version of thesis, 1989. http://hdl.handle.net/1850/11529.
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Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.
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This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through their sequenced, fragmentary poetics. I argue that formal interstices of these composite texts, like that of serialized photographic practice, are raised as signposts to the limits of the eye and of visual and discursive objectification itself. Most provocatively, I interpret their gaps and openings as textual sites in which the dominant socio-political order is negotiated and even circumvented. I map the sequenced tissue of modernist narration onto the repeated disappearances and appearances of female bodies that are, like the narratives they populate, constructed as aggregates or assemblages. In so doing, I enrol what I call the woman-in-series within a host of new theoretical figurations of female subjectivity emerging within feminist scholarship that seeks to exceed the hostile relationships between the camera and the female subject that have dominated discussions of photography and cinema. As such, this dissertation works to destabilize gendered and racialized oppositions of power and vulnerability as they relate to encounters between subjects and objects in the visual realm. The gap or interval in the composite visions of American modernism signifies both as a mark of trauma, the wounding of objectifying representation, and as a means for evading or defending against such trauma. The woman-in-series thereby stages the insurrectionary potential of the in/visible subject.
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Kuo, Hsiu-Li. "The solitary notations." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/182.
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This study investigates imagery from twentieth century art presenting the fluctuation of the human psyche, and historical western imagery revealing the mortal condition of human corporeality. The exploration of the interdisciplinary historical aspect of Surrealism (Rubin: 1968, Alexandrian: 1970, Bigsby: 1972), womens art (Orenstein: 1973, Chadwick: 1985), anatomical illustration (Roberts: 1992, Cazort: 1996), and death-related photography (Sante: 1992, Burns: 1990, 1998, OConnor: 1999) is an attempt to attain a coherent sense of being a human in the natural world. The Solitary Notations explores the concept of unveiling what has been concealed. Examining what is hidden underneath the visible in both a cultural and metaphorical sense is investigated in both theoretical and creative research. This study includes Surrealist art that explored the unconscious realm of human personality. It also selects work of women artists influenced by Surrealism, such as Frida Kahlo, Remedios Varo and Claude Cahun. The background to the representation of the female body in a dominantly male culture is researched through historical analysis, revealing womans unique psychic state and knowledge. The anatomists such as Andreas Vesalius, Bernhard Siegfried Albinus, and William Hunter explored human bodies to know the intricate structures underneath skin. Death-related photography from the mid nineteenth century to the twentieth century revealed the unfathomable nature of human existence in documentary images that extended scientific and psychological approaches to the body. My creative work has a focus on the imagery that evokes the message of decay, solitude, and metamorphosis. Ruminating about such imagery and creative process is an attempt to express artistically how human self-affirmation can be achieved, and how I can gain an identity of the solitude of self through my imaginative photography, tableaux and assemblage.
Libros sobre el tema "Photography of women"
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1962-, Delius Peter, and Slaski Jacek, eds. Women by women. Munich: Prestel, 2003.
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Palmquist, Peter E. Women in Photography Archive. Arcata, CA: Women in Photography International Archive, 2003.
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1944-, Connor Linda, and Axiom Centre for the Arts., eds. California: Women in photography. Cheltenham: Axiom Centre for the Arts, 1987.
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Prince, Richard. Women. Los Angeles: Regen Projects, in collaboration with Hatje Cantz Publishers, 2004.
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Newbury, Darren, Lorena Rizzo, and Kylie Thomas, eds. Women and Photography in Africa. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410.
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Mann, Sally. At twelve: Portraits of young women. New York, N.Y: Aperture, 1988.
Buscar texto completoCapítulos de libros sobre el tema "Photography of women"
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Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.
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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
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Allan, Stuart. "Women and war photography." In Journalism, Gender and Power, 312–30. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315179520-22.
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Smith, Tina, and Jenny Marsden. "Photographs and Memory Making." In Women and Photography in Africa, 163–89. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-12.
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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘Photography as an Employment for Women’." In Victorian Material Culture, 517–20. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-167.
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Gardner, Nathanial. "Fundamental Considerations for Mariana Yampolsky's Photography." In Women Photographers and Mexican Modernity, 58–75. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003309352-7.
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Newbury, Darren, Lorena Rizzo, and Kylie Thomas. "New Lines of Sight." In Women and Photography in Africa, 1–19. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-1.
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Barouti, Tina. "‘We Own the Night’." In Women and Photography in Africa, 149–62. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-11.
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Lewin, Tessa. "Beyond the Frame." In Women and Photography in Africa, 190–202. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-13.
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Kesting, Marietta. "Affective Archives." In Women and Photography in Africa, 205–26. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-15.
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Makhubu, Nomusa. "Visual Currencies." In Women and Photography in Africa, 227–48. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-16.
Texto completoActas de conferencias sobre el tema "Photography of women"
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Allmark, Panizza. "Making a Difference: Social Media, Photography, Activism and Women in Asian Contexts." In International Conference on Emerging Media, and Social Science. EAI, 2019. http://dx.doi.org/10.4108/eai.7-12-2018.2281801.
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Ananchenkova, Polina, and Mikhail Kuznetsov. "THE USE OF E-LEARNING TECHNOLOGIES IN TRAINING PROCESS FOR WOMEN ON PARENTAL LEAVE (NEW MOMS)." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-048.
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E-learning is one of the innovative technologies of formation of students' professional competence. The distance learning in the Russian educational organizations has both advantages over the traditional forms of education and some peculiarities. It sets certain specific requirements for the teacher and the learner. In particular, one should keep in mind that all foreign educational resources suggest a proficient command of a foreign (primarily English) language. There are resources in the Russian Internet too that favor the formation of general cultural and professional competence. And all courses and modules are available in Russian. The most popular websites are: LendWings, Uniweb, Zillion, Universarium, etc. They offer teaching materials on business, design, photography, programming and other subjects. There are mostly free courses, pay courses can be acquired in batches (several pieces at a time within one subject). After completing the course, students are awarded certificates. The courses place emphasis on the programs, but not on individual video lectures. Upon completion, you can be awarded a university diploma, or a certificate. The Runet currently offers more than 400 training programs. Their prices vary depending on the prestige of the university and other factors. Thus, the educational innovations contribute to the expansion, implementation and use of innovative technologies of adoption of educational programs and the formation of a wide range of competencies. E-learning as an educational innovation promotes the development of competencies and is aimed to provide opportunities to citizens of the Russian Federation residing in remote and hard-to-reach areas for additional professional education.
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De Sola, Ignacio Sifre, Nieves Pérez-Mata, and Margarita Diges. "THE EFFECT OF THE INSTRUCTIONS ON FACE RECOGNITION: ACCURACY AND EYE MOVEMENTS." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact104.
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"The present experiment examines how instructions (absolute judgement vs. relative judgement) affect the performance in simultaneous lineups (present perpetrator and absent perpetrator). To find out whether the participants really followed the instructions, their eye movements were recorded when they faced the photo lineup. Sixty participants (44 women and 16 men) took part in the experiment. Overall, the results showed that participants with absolute judgement instructions made significantly less inter-photograph comparisons than those with relative judgement instructions. In the present perpetrator lineup, hit rate was lower for participants with absolute judgement instructions than with relative judgement instructions. In the absent perpetrator lineup, no differences were between both instruction conditions. Furthermore, as was expected, no relationship was found between “pre” and “post” confidence and accuracy in the lineups. Moreover, we examined participants’ metamemory evaluations about their examination pattern of the photographs in the lineup. Our results did not show high incongruity between the own participants’ judgment and their visual behavior."
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Rule, Heather A. "Expanding Women’s Agency in the Built Environment: Understanding How Employment Has Impacted Women’s Access to Space in Rural Andean Ecuador." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.132.
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For centuries women’s agency in the built environment of their homes, communities and workplace was limited by an absence of ownership and control of these spaces. Even as women gained equal rights to land ownership, their capacity to develop that land was limited by social and cultural structures. Access to employment changed for women living in rural areas when the rose industry developed, especially around Cayambe and Cotopaxi, creating jobs near their home communities. Over fifty-one percent of current industry jobs are held by women, with higher number in the early years. Using participatory research methods, women employed at four rose farms in Andean Ecuador were invited to take photographs from a list of questions. These prompts centered on themes of home, community and workplace. The photographs served as a springboard to in depth interviews to study the participant’s levels of agency at home, in their communities and at work. The research builds a picture of the impact employment in the formal job market has created for women. Beginning with access to credit lines, training and education at work, these women have been able to break cycles of gender violence. The photographs, taken by participants, and narrative interviews give us a unique perspective into these women’s agency in their built environment. Most significantly perhaps, is the impact of hearing their experiences recounted and documented from their perspectives. This paper will record and disseminate those experiences to a greater audience.
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Sadique, S., YD Lin, SA Walker, B. Rao, PAK du Cros, J. Greig, ATM Bhuiyan, et al. "Face mask acceptability and usage after mass distribution in a refugee camp during the Covid-19 pandemic: mixed-methods study." In MSF Scientific Days International 2022. NYC: MSF-USA, 2022. http://dx.doi.org/10.57740/s2se-8951.
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INTRODUCTION The crowded conditions within camps for refugees and internally displaced people create risk environments for unmitigated transmission of SARS-CoV-2. Within one such setting, Cox’s Bazar, Bangladesh, MSF distributed face masks in July-August 2020 for use by people living in eight camps to reduce transmission risks. However, uptake of face masks within camp populations and the factors influencing use are not well understood. METHODS We conducted a multi-level triangulation mixed-methods study in March 2021 in Cox’s Bazar. Field observations were undertaken in public spaces in four camps, noting individuals’ facemask use (appropriate versus not), use of other types of face covering (e.g., headscarf), and gender. We also analysed photographs posted on Twitter during March 2021 that were geotagged in the Cox’s Bazar area, posted with a specific keyword, or posted by connected accounts and tweets. Photographs were also categorised by facemask/headscarf use and gender. Finally, we conducted 32 in-depth interviews to understand perceptions and barriers around mask use. Qualitative data were analysed thematically using NVivo. ETHICS This study was approved by the Office of the Civil Surgeon, Cox’s Bazar, Bangladesh and by the MSF Ethics Review Board. RESULTS We made 3,152 public observations. Only 190/3,152 (6%) were using a mask appropriately. Men were more likely to be seen using any visible standard facemask appropriately than women (odds ratio, OR, 1.5, 95% confidence interval 1.1-2.2, p-value 0.037). Most women were observed wearing headscarves that precluded observing if masks were worn underneath. The content of 20 tweets were analysed. One photograph showed one person wearing a mask correctly; in 17 photographs individuals wore no face covering and in 2 wore scarves. Qualitative data suggested participants were aware of the importance of mask use but highlighted several reasons for not wearing them, including the fear of being insulted for wearing a mask due to the association between mask use and having Covid-19; a view that they were unnecessary because there was little Covid-19 in the camps; experiences of physical difficulties or discomfort whilst wearing masks; and a belief that wearing facemasks was unnecessary because “life or death is up to Allah”. Participants highlighted the current shortage of masks in the camps as well as adverse consequences of insufficient masks, and requested further distribution. CONCLUSION These findings suggest low adherence to recommendations around mask use in this camp setting. Multiple strategies need to be considered, including better distribution strategies and improved messaging and engagement with religious and community leaders to increase facemask use in settings such as Cox’s Bazar. CONFLICTS OF INTEREST None declared.
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Rudiran, Sureshkumar, and Samiappan Dhanalakshmi. "Optical Imaging of Compact Photographic Zoom Lens Systems." In 2024 IEEE International Conference for Women in Innovation, Technology & Entrepreneurship (ICWITE). IEEE, 2024. http://dx.doi.org/10.1109/icwite59797.2024.10502846.
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Sun, Q., and John E. Field. "High-speed photographic study of impact on fibers and woven fabrics." In 19th Intl Congress on High-Speed Photography and Photonics. SPIE, 1991. http://dx.doi.org/10.1117/12.23993.
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Zuniga, Rubén David dos Reis, Izadora Fonseca Zaiden Soares, Roseli Corazzin, and Alzira Alves de Siqueira Carvalho. "Study of the prevalence of Frank’s sign in a general population." In XIII Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1516-3180.194.
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Background: Frank’s sign is a diagonal crease in the earlobe that extends from the tragus to the inferior-posterior auricle’s edge. Described as a predictor of cardiovascular diseases (CVDs), it was considered an independent cardiovascular risk factor (CRF) and associated with cerebrovascular events and cognitive impairment (CI). Objectives: To assess the prevalence of Frank’s sign in a general population aged 60 years or older regardless of the presence of CRFs and to relate the presence of this sign with epidemiological and clinical aspects. Design and setting: This is an analytical, observational and cross- sectional study accomplished in ABC Region and in Itapecerica da Serra (Greater São Paulo). Methods: 500 individuals aged 60 years or older randomly recruited had their ears photographed, responded to either Mini Mental State Examination or Montreal Cognitive Assessment depending on education achievement. Results: 57% were women; 57% were white, 39% black and 4% asian; 64% had the sign; Frank’s sign was associated with dyslipidemia and almost with hypertension, but not with cardiovascular events or CI. Conclusions: 1. Frank’s sign was more prevalent in older people and in the white population and, for the first time, in women. 2. There is a pattern in the sign prevalence in Greater São Paulo, which differs from the international one. 3. Frank’s sign may be more sensitive to CVDs in hospitalized patients than in the general population and it can be a bias in literature. 4. Prospective studies could assure whether this sign is a marker for CVDs in this population.
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Zuniga, Rubén David dos Reis, Izadora Fonseca Zaiden Soares, Roseli Corazzini, and Alzira Alves de Siqueira Carvalho. "Study of the prevalence of Frank’s sign in a general population." In XIII Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1516-3180.409.
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Background: Frank’s sign is a diagonal crease in the earlobe that extends from the tragus to the inferior-posterior auricle’s edge. Described as a predictor of cardiovascular diseases (CVDs), it was considered an independent cardiovascular risk factor (CRF) and associated with cerebrovascular events and cognitive impairment (CI). Objectives: To assess the prevalence of Frank’s sign in a general population aged 60 years or older regardless of the presence of CRFs and to relate the presence of this sign with epidemiological and clinical aspects. Design and setting: This is an analytical, observational and cross- sectional study accomplished in ABC Region and in Itapecerica da Serra (Greater São Paulo). Methods: 500 individuals aged 60 years or older randomly recruited had their ears photographed, responded to either Mini Mental State Examination or Montreal Cognitive Assessment depending on education achievement. Results: 57% were women; 57% were white, 39% black and 4% asian; 64% had the sign; Frank’s sign was associated with dyslipidemia and almost with hypertension, but not with cardiovascular events or CI. Conclusions: 1. Frank’s sign was more prevalent in older people, in the white population and, for the first time, in women. 2. There is a pattern in the sign prevalence in Greater São Paulo, which differs from the international one. 3. Frank’s sign seems to be a marker for CV risk, but not for previous CV events. 4. There was no association between Frank’s sign and CI. 5. Prospective studies could assure whether this sign is a marker for CVDs in this population.
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Arnautu, Irina. "THE DIGITAL DEPICTION OF THE ARCHAEOLOGICAL WOVEN FABRIC BASED ON ARAHNE CAD/CAM FOR WEAVING." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-231.
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The conservation and restoration of archaeological woven fabrics are faced with many practical challenges. In case of damask fabrics, besides the identification of structural characteristics of the woven fabric, one of these challenges is referred to the reconstruction of the ornamental depiction. In the attempt to obtain a better correlation between the structural characteristics and ornamental depiction of damask fabrics, the traditional working techniques are based too much on subjectivity of archaeological understanding and interpreting of the textile conservator-restorer. The digital techniques can create a scaled unit of repeat of damask design and can simulate ultra realist the damask fabric, thus saving time, money, effort and other valuable resources. The paper presents the results of research on one monochrome silk damask woven in Italy from about the 16-17th centuries. The large scale of the pattern, richly ornamented with stylized vegetal motifs which show the Far East influence, was used extensively for home textiles, especially for curtains and wallpapers, but as well in fashion clothes. A detailed photographic documentation of the damask fragments was made for the stage of reconstruction of scaled unit of repeat. For this purpose was used a graphic art software to obtain the motifs configurations, which then, like the pieces of a puzzle, have been arranged in the damask repeat pattern. In order to simulate the damask fabric were used the programs ArahPaint and ArahWeave of integrated software Arahne CAD/CAM for weaving. At the beginning, the damask repeat pattern was designed and saved in ArahPaint program. To create the two-dimensional simulation of woven fabric, the damask repeat pattern was imported in the Jacquard conversion window of ArahWeave program and have been introduced all structural characteristics of the fabric, previously determined by using non-destructive methods of evaluation. This paper aims to draw attention to the digital reconstruction of archaeological woven fabric not only as a method for the dissemination of research findings, but further, as a viable possibility to be woven.
Informes sobre el tema "Photography of women"
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.
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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.