Bibliographies thématiques / Visual archives

Littérature scientifique sur le sujet « Visual archives »

Auteur : Grafiati
Publié le 25 mai 2024

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Articles de revues sur le sujet "Visual archives"

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Akbar, Muhammad, Yunus Winoto et Rohanda Rohanda. « A Study Of Digital Record Storage Management Institutions In Art Archive Indonesian Visual Art Archive ». Record and Library Journal 3, no 2 (13 janvier 2018) : 108. http://dx.doi.org/10.20473/rlj.v3-i2.2017.108-115.

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This study aims to determine the digital archive storage management conducted Indonesian Visual Art Archive which includes the acceptance stage archive, metadata archives, archive conversion, digital archive storage, retrieval and archive and archive evaluation stage. The location of this research done in archives art Yogyakarta Indonesian Visual Art Archive. The method used in the study used a qualitative approach with case study. As for the technique of data collection is done through observation, interview and literature study. Based on the results of this research note that the digital archive management activities undertaken archives art Yogyakarta Indonesian Visual Art Archive is a form of awareness of the importance of art as archive footage of historical development and culture. As for the digital archive management activities are some steps being taken begins with the acceptance of the archive, metadata archives, archive conversion, digital archive storage, retrieval and archive and archive evaluation stage. In this digital archive management does not have a cycle of destruction of records for each archive is a work of art performers. In addition, the digital archive storage management activities in archives art Yogyakarta Indonesian Visual Art Archive is supported by a clear procedural system.
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Brizuela, Natalia. « A Sense of Place : Paz Encina's Radical Poetics ». Film Quarterly 70, no 4 (2017) : 49–64. http://dx.doi.org/10.1525/fq.2017.70.4.49.

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Paz Encina became a public figure in Paraguay after her first film, Hamaca Paraguaya (Paraguayan Hammock, 2006), won major awards and put Paraguayan cinema back on the international map for the first time in decades. In 2012, she was invited to “do something” visual with the Archivos del Terror (Archives of Terror) to mark the twentieth anniversary of the discovery of the heinous archives. Encina is not the only artist to make use of the Archives of Terror. Argentine Carlos Trilnick's Proyecto Archivos del Terror: Apuntes sobre el Plan Cóndor (Archives of Terror Project: Notes on the Condor Plan, 2013) also utilizes them. Natalia Brizuela posits that Paz Encina's use of the archival material from the Archives of Terror is different than Trilnick's. Her pieces demarcate specific spaces and insist on location, in contrast to Trilnick's work that is made to be packed up and reset in any space. Second, Encina's installations insist on disjointed forms of reenactment to establish a tension between embodiment of the spectator and disembodiment of the tortured bodies. She has since made three works that utilize the Archives of Terror. Her interest in the archival material never sought to generate a new archive but rather to engineer the spectatorial conditions for a site-specific experience. The fully embodied subject that emerged through the sound recordings became the motor for the work Encina produced on and around the Archives of Terror and the lengthy state-of-exception government that structured her country's life in the longest dictatorship to date in Latin America.
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Hagedoorn, Berber, et Bas Agterberg. « The End of the Television Archive as We Know It ? The National Archive as an Agent of Historical Knowledge in the Convergence Era ». Media and Communication 4, no 3 (14 juillet 2016) : 162–75. http://dx.doi.org/10.17645/mac.v4i3.595.

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Professionals in the television industry are working towards a certain future—rather than end—for the medium based on multi-platform storytelling, as well as multiple screens, distribution channels and streaming platforms. They do so rooted in institutional frameworks where traditional conceptualizations of television still persist. In this context, we reflect on the role of the national television archive as an agent of historical knowledge in the convergence era. Contextualisation and infrastructure function as important preconditions for users of archives to find their way through the enormous amounts of audio-visual material. Specifically, we consider the case of the Netherlands Institute for Sound and Vision, taking a critical stance towards the archive’s practices of contextualisation and preservation of audio-visual footage in the convergence era. To do so, this article considers the impact of online circulation, contextualisation and preservation of audio-visual materials in relation to, first, how media policy complicates the re-use of material, and second, the archive’s use by television professionals and media researchers. This article reflects on the possibilities for and benefits of systematic archiving, developments in web archiving, and accessibility of production and contextual documentation of public broadcasters in the Netherlands. We do so based on an analysis of internal documentation, best practices of archive-based history programmes and their related cross-media practices, as well as media policy documentation. We consider how audio-visual archives should deal with the shift towards multi-platform productions, and argue for both a more systematic archiving of production and contextual documentation in the Netherlands, and for media researchers who draw upon archival resources to show a greater awareness of an archive’s history. In the digital age, even more people are part of the archive’s processes of selection and aggregation, affecting how the past is preserved through audio-visual images.
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Hobbs, Richard. « Boltanski's visual archives ». History of the Human Sciences 11, no 4 (novembre 1998) : 121–40. http://dx.doi.org/10.1177/095269519801100408.

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Chen, Xiyue. « Smart Archive Management : Application of IoT, BD and GIS to Infrastructure ArchivesManagement ». International Academic Journal of Humanities and Social Sciences 1, no 1 (28 mars 2023) : 15. http://dx.doi.org/10.56028/iajhss.1.1.15.2023.

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In the management of infrastructure archives, there are three problems that need to be solved: the lack of smart infrastructure archives management paradigm with systematic and standardization, the fact that 2-dimensional paper-based infrastructure archives cannot accurately describe three-dimensional infrastructure archive information, and the problem of "information gap" caused by the lack of integration of infrastructure spatial information and archives. This paper proposed a new paradigm of smart infrastructure archive management. The Smart Infrastructure Archive Management Paradigm takes realizes the perception of infrastructure archive resources by combining the Internet of things technology, cloud computing and big data technology, as well as geographic information system. This paper proposes the Physical Archives Management Platform, the Archives Smart Repository Management Platform, the Infrastructure Archives Visual Management Platform. The research outputs have been applied to the Archives Management of Zhengzhou University and achieved good feedback.
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Riwayati, Ririn. « Implementation of Archives Digitalization through Belajar.id Account in Improving Data Organization ». PPSDP International Journal of Education 3, no 1 (7 février 2024) : 9–16. http://dx.doi.org/10.59175/pijed.v3i1.183.

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The purpose writing this article is to understand the process of structuring digitized data at SDN 8 Rambang, due to archive services conventional which is ineffective and we are trying to change to a digital archive service. Due to the preservation of archives in the current era of Society 5.0 leads to how the public can access archival information that is capable of implementing technology in it. Archive arrangement includes several types of archives including textual, audio and audio-visual archives. The process of moving current archive contents saving it in different media, takes place continuously from old media to new media. Both documents and archives that are in digital format or still analog. Document digitization/archives are a process of change from conventional ones in various styles and forms to electronic archives.
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Danqiu, Qu, et Ren Hao. « Image Retrieval Technology of Smart Archives from the Perspective of National Reading ». Wireless Communications and Mobile Computing 2022 (28 avril 2022) : 1–9. http://dx.doi.org/10.1155/2022/9592726.

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In order to improve the image retrieval effect of smart archives, reduce retrieval time, and enhance retrieval performance, this paper proposes an image retrieval technology for smart archives from the perspective of national reading. According to the concept of nationwide reading and considering the internal and external influencing factors, mobile visual retrieval service for users of smart archives is provided, and the mobile visual retrieval model for users of smart archives is constructed by using a standardized structure and mixed structure. During the operation of the model, the image feature similarity of the wisdom archive is calculated, and the image is processed by the corresponding module, so as to realize the image retrieval technology research of the wisdom archive from the national reading perspective. The experimental results show that the designed technology has better retrieval effect, shorter time, and better performance.
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Ivanov, Ilya. « Scientific use of archival documets of Moscow Spiritual Consistory under the departmental restrictions of the Synodal period ». St.Tikhons' University Review 106 (30 juin 2022) : 81–96. http://dx.doi.org/10.15382/sturii2022106.81-96.

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The article deals with a little-known and hardly imaginable in the context of pre-revolutionary clerical administration scientific direction of the Moscow Ecclesiastical Consistory Archive. Based on archival material and works of ecclesiastical Moscovites of the 19th - early 20th centuries the principles of the introduction of diocesan materials into science, as well as the parameters of departmental influence within the structures of church institutions on the example of the Moscow Ecclesiastical Consistory Archive are revealed. By the second quarter of the XIX century, the Consistory had acquired a large collection of diocesan documents with undisclosed information potential. Apart from departmental rules, the interest in the archive depended on psychological factors influencing research motivation. The establishment of science in the pre-revolutionary consistory archives was helped by a special committee which was set up in the first half of the 19th century to work with the archive complex. Its employees had to bear the main burden of searching for the necessary documents. The development of archives by the scientists was nonlinear: the periods of growth and decline alternated. Attention to the archive's documents was dulled by the change in OLDP's educational methodology, which replaced historical reconstructions with visual preaching. Nevertheless, the Archive's processing mechanisms were preserved and only the First World War interrupted further development of the information capacity of the Consistory archives. Thanks to the combined efforts of the clergy employed in the Archive, as well as the improved quality of the documents preserved, the Archive of the Diocesan Institution is gradually becoming a breeding ground for scholars studying the history of the Russian Church.
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Putri, Kiki Rizky Soetisna. « MEMBANGUN INGATAN INSTITUSIONAL : ARSIP KELEMBAGAAN DI DALAM ORGANISASI SENI ». Jurnal Kearsipan 16, no 2 (17 novembre 2022) : 101–14. http://dx.doi.org/10.46836/jk.v16i2.120.

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Documenting institutional archives in an art institution is rarely the main discussion. So far, institutional archives have only been assessed in terms of an administrative nature, but in fact, this documentation can be a way to build institutional memories. This paper is an overview of a workshop on institutional archiving in an art organization held at the Asia Art Archive, Hong Kong from 23 to 25 May 2019. The workshop was attended by various art organizations in the Asian region. Furthermore, this paper will use an analytical-qualitative approach to describe archives and institutional archives, management, success parameters, and preservation problems faced, especially for the Asian region which is very unfavorable climatically for several archive mediums. In closing, this paper will link with one of the archiving projects carried out in The Aesthetics & The Sciences of Art Research Group (ASARG), Faculty of Art and Design, ITB called CIVAS (Center for Indonesian Visual Art Studies). keywords: institutional archiving, institutional memory, art organizations, Indonesian visual art
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Friedman, Jeff. « “Archive/Practice” : Dance Archives International Symposium ». Dance Chronicle 34, no 1 (14 mars 2011) : 138–45. http://dx.doi.org/10.1080/01472526.2011.548999.

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Thèses sur le sujet "Visual archives"

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Barr, Debra Elaine. « Analyzing photographs in archival terms ». Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/24387.

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Through a comparison of the literature produced by general archival theorists with that published by photographic archivists, it becomes clear that archival principles are not routinely applied to records in photographic form. Since reflecting knowledge about records creators and circumstances of creation is a basic archival responsibility, this thesis will begin with a discussion of a variety of past and present purposes of photographers in general. The ways in which both purposes and methods can influence photographic information will also be studied. The obligation of photographic archivists to examine records and creators in terms of administrative (including legal), scholarly and other user values will then be examined. The thesis will conclude with a survey of the literature produced by North American photographic archivists to determine whether their responsibilities are fully recognized.
Arts, Faculty of
History, Department of
Graduate
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Blinkhorn, Victoria Louise. « The records of visual artists : appraising for acquisition and selection ». Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/27686.

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The responsibility of archivists is to preserve society's documentary heritage. Visual artists contribute to this heritage thorough their creative vision of man and his civilization. Because the archival purview to preserve some representation of the artist's activity is evident, it is necessary to determine, from a theoretical perspective, which part of the artist's output is of archival nature and how archivists may appraise this output for acquisition and selection. This thesis uses published sources of European and North American archival theory, aesthetic philosophy, business, and law and data gathered from interviews with four British Columbian artists to investigate the validity of theoretical appraisal principles for the evaluation of records generated and received by artists. The study concludes that artistic activity is clearly divisible into functional components and productive of many basic record types. Because of the pressures and requirements of the often-conflicting interests of art, business, and law, artists must depend on their records as a basis of security, a means of operating, and a source of memory. These records are archival in nature because they are generated out of a practical activity, constitute an organic accumulation, and are used and then retained for the use of their creator. Except under certain circumstances, the finished work of art is not of archival nature. Consequently, archival repositories do not have the right to preserve works of documentary art. Artists' records can be appraised in accordance with the theoretical principles of archival science. Appraisal results in a decision about acquisition and a decision about selection. Both decisions are based on the archivist's knowledge about the artist's contemporary society, his life, and his activities and records. The result of the first decision will be the acquisition of organic bodies of records representative of their contemporary society, complementary to the primary and secondary sources preserved in the area where the repository acts, and relevant to the acquisition policy of the repository. The second decision will be the selection and preservation of those records considered as having been most essential to the organization, function, security, and memory of the artist's activities.
Arts, Faculty of
Library, Archival and Information Studies (SLAIS), School of
Graduate
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Chigariro, Dickson. « Collaboration in the management and preservation of audio-visual archives : a case study of the national archives of Zimbabwe ». Thesis, University of the Western Cape, 2014. http://hdl.handle.net/11394/3869.

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Magister Bibliothecologiae - MBibl
The study investigated the significance of collaboration in the management and preservation of audio-visual archives at the National Archives of Zimbabwe (NAZ) in light of the challenges presented by this heritage resource. An exploration of literature has revealed that managing audio-visuals is not an easy part and most cultural heritage institutions in developing counties have been struggling. The underlying premise is that collaboration ensures efficiency and effectiveness in the management and preservation of audio-visual archives
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Vajaria, Himanshu. « Diarization, localization and indexing of meeting archives ». [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002581.

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Donaldson, Charles A. « Got a Gut Feeling : Truthiness, conspiracy and archives in contemporary culture ». Thesis, Griffith University, 2021. http://hdl.handle.net/10072/408101.

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This exegesis reports on research undertaken for the fulfilment of my Master of Visual Arts candidature at Griffith University. My research project takes the form of a practice led installation-based studio methodology. Through the fabrication of objects in the context of a visual arts practice that parodies archival systems, it aims to effect change in our contemporary understanding of “objective” truth by exploring the impact of truthiness (emotionally motivated belief, confirmed by gut feeling instead of facts) and embracing conspiracy culture. I argue that truthiness is widespread online as a sociopolitical tool and phenomenon. I contend the rise of mass information overload and image circulation online has propagated truthiness into every aspect of an increasingly online visual culture. I examine the rise of conspiracy as a mainstream visual language and discuss why and how individuals come to accept alternative accounts of history and explanations of the present. I assess the role of archival preservation in contemporary information dissemination, examining the influence of online systems upon how we store and access socio-political materials. I contend that archives can no longer be considered objective sites that merely and apolitically store/catalogue information. Rather, archives are subjective sites of interpretation and construction, produced and managed by many from diverse backgrounds—including artists. I discuss the methodology of genealogical research, suggesting that a multifaceted approach to historiography generates a new “effective” history, informed by multiple perspectives that aim to change interpretations of history and historiography. I identify a contextual correlation between the work of three practitioners— namely, Trevor Paglen’s conspiratorially bent research, Walid Raad’s fabricated archive and Christian Boltanski’s archival parodies. This correlation points to a congruity of research into the impact of truthiness, archival subjectivity, and mainstream conspiracy culture in contemporary art. Finally, I discuss two research outcomes and conclude whether the aims of the research project have been achieved.
Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
Full Text
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Colwell, Virginia Kathryn. « The Present Absence ». The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308167144.

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Santana, Luiz Antonio. « Documentos audiovisuais no Brasil : trajetória, institucionalização e novas perspectivas / ». Marília, 2019. http://hdl.handle.net/11449/181004.

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Orientadora: Telma Campanha de Carvalho Madio
Banca: Ana Maria de Almeida Camargo
Banca: Márcia Cristina de Carvalho Pazin Vitoriano
Banca: Maria Leandra Bizello
Banca: Rafael de Luna Freire
Resumo: Considerando as especificidades técnicas e diversos problemas inerentes a documentos audiovisuais, bem como status ou medidas protecionistas atribuídas a tais documentos, isto é, sua patrimonialização, dispositivos legais de autoria, de imagem, buscar-se-á demonstrar que existem documentos desse tipo que são reflexos de função administrativa, com caráter orgânico e função probatória de atividades, e por tal razão devem ser incorporados no contexto de produção. Objetiva-se, assim, imputar a necessidade de que o documento audiovisual seja reconhecido como documento de arquivo e seja inserido nos procedimentos de gestão documental. Para tanto, procede-se a abordagem dos princípios arquivísticos que pauta a gestão de documentos, bem como das características e do percurso histórico dos documentos audiovisuais em arquivos no Brasil, partindo inicialmente da pesquisa bibliográfica para a delimitação do tema de estudo. Nesse sentido, analisam-se tais questões no âmbito nacional, tomando como base os órgãos oficiais de formulação das políticas arquivísticas, assim como dos eventos e publicações promovidos por esses órgãos e associações profissionais da Arquivologia. Tais procedimentos têm como propósito embasar e adquirir informações para o desenvolvimento dessa pesquisa e propor novos olhares sobre esses documentos e suas especificidades, a partir dessa análise retroativa da área dos arquivos no Brasil. Desse modo, observa-se que a reflexão dos conceitos de documentos audiovisuais e ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Considering the technical specificities and various problems inherent in audiovisual records, as well as the status or protectionist measures attributed to such documents, ie their patrimonialization, legal devices of copyright, of image, it will be tried to demonstrate that there are records of this type that are products of an administrative function, with organic character and probative function of activities, and for that reason must be incorporated in the context of production. It is therefore intended to imply the need for the audiovisual record to be recognized as an archival record and to be included in record management procedures. Therefore, the archival principles that guide the records managment, as well as the characteristics and the historical path of audiovisual records in archives in Brazil, are based on the principles of archival principles, starting from the bibliographic research for the delimitation of the topic of study. In this sense, these questions are analyzed at the national level, based on the official bodies for the formulation of archival policies, as well as the events and publications promoted by these professional associations and bodies of the Records Managment. These procedures have as purpose to base and acquire information for the development of this research and to propose new approches on these records and their specificities, from this retroactive analysis of the area of archives in Brazil. In this way, it is observed that the reflection... (Complete abstract click electronic access below)
Doutor
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Carvalho, de Almeida Pedro Alexandre Santos. « Brand archives : the rescuing of locally specific brand imagery as a graphic design response to the globalization of visual identity ». Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5689/.

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Visual identity can be understood as the result of the application of graphic design methods aimed at inter-brand differentiation, which paradoxically is leading to “homogenizing identities” (Bell, 2004). The globalization of visual identity is a phenomenon that can be observed not only among global brands competing with each other, but also in locally specific heritage brands that relinquish distinctive elements of their identity to resemble the global. In many cases, their specificities end up being distorted, blurred, or lost, and the richness of what is historically and culturally unique about them is often misinterpreted, neglected, or even discarded. By showing what can be lost with regards to historical and cultural memory within a brand’s imagery, this thesis questions the significance of archives to locally specific brands claiming symbolic and cultural relevance. It shows how can graphic designers can contribute to the preservation of cultural diversity through visual identity. To address the loss of cultural memory as well as the globalization of visual identity, this study draws on visual design heritage to achieve an understanding of the past as a source and a means to feed future cultural development. By adapting visual methodologies and case-study methods to assess brand identity, the study presents a methodological approach for the rescuing, interpretative analysis, and exploration of historical memory in brand imagery. It applies ethnographic research methods for data collection and graphic design methods for recovering visual materials, combined with timelines and grids for contextual and visual analysis. A main case-study is presented to demonstrate how the methods originated, how they enable the observation of identity transformations over time, and of how visual identity dissolves with global influence. This case addresses the historical context and today’s cultural relevance of an archive of the Portuguese iconic Sanjo sports shoes brand, which emerged with the rise of the ‘Estado Novo’ authoritarian regime in Portugal (1933–1974). Through the interpretation of how brand designs evolved in relation to contextual history it is possible to see the various social, cultural, political and economical transformations that occurred in their life spans. The thesis presents parallel examples of brands that were heavily influenced or even controlled by government in the past and now operate independently. As with the case of Sanjo, the comparative study investigates, and further draws attention to the relationship between the loss of historical memory and the globalization of visual identity. By examining the relevance of archives for addressing identity issues, the thesis shows that current graphic design practices can avoid failing to address historical contextualisation and cultural relevance if, firstly, a great deal of historical and cultural memory is retrieved, secondly, if there is substantial visual and contextual analysis, and thirdly, if the visual elements and histories uncovered are put together in the right context. By considering the possibilities that brand archives present for exploring the symbolic values of objects and generating meaning, this study fills a gap between archival practices and the way many designers and companies are dealing with locally specific brands. It argues that brand archives are key instruments for designers to derive meaning and convey cultural memory into the future, and that visual identity is a channel through which these can be acknowledged, displayed and experienced. The study concludes by suggesting possible approaches graphic designers might pursue to address the issues identified, and it broadens the scope of the directions in which brand archives can be explored through the re-contextualisation of cultural objects.
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Poos, Francoise. « The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition ». Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.

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This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood.
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Silva, Isabel Anderson Ferreira da 1984. « Conceitos, estilos e procedimentos audiovisuais em documentários de arquivo antinazistas ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284603.

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Orientador: Marcius Cesar Soares Freire
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho se dedica a explorar os diferentes conceitos, estilos e procedimentos audiovisuais envolvidos na realização de documentários que se constroem a partir de material de arquivo. Para tanto, são apresentadas sete obras que resultam da compilação de imagens e sons produzidos nos tempos da Segunda Guerra e cuja postura ideológica é antinazista. Apesar de similaridades temáticas e formais, tais filmes se utilizam de estratégias narrativas e de recursos narrativos de maneiras tão diversificadas que se prestam a apresentar contribuições singulares para a linguagem do filme de não ficção. O trabalho dispõe de três grandes capítulos. O primeiro, bastante conceitual, aposta em uma vasta contextualização do material abordado, tanto do ponto de vista formal ¿ o fato de os documentários se definirem como compilações de produtos audiovisuais ¿ quanto do narrativo ¿ seu tema geral (documentário de guerra) e específico (antinazista). Nele, cotejamos conceitos, como "filme de arquivo" e "filme de compilação"; mencionamos diferentes pontos de vista de autores que se dedicam a analisar esta forma de prática documental e apresentamos alguns aspectos relacionados a este tipo de material, como o seu valor historiográfico, sua presença na televisão ou a sua relação com as vanguardas audiovisuais. Mais adiante, já no segundo capítulo, chegamos às análises fílmicas de fato. Observamos no que consiste cada filme, como se deu a sua realização e o que ele representou para a sociedade na qual estava inserido bem como aquilo que, para nós, representa ainda hoje. Também explicitamos as suas particularidades enquanto produtos midiáticos a fim de estabelecermos os diferentes estilos de seus discursos. Por último, no capítulo seguinte, nos atemos aos procedimentos audiovisuais tal como eles aparecem nas construções narrativas dos documentários abordados. Esse capítulo surgiu da necessidade que sentimos de abordar características dos filmes de maneira mais entrosada e, de até certo ponto, comparativa. Englobamos recursos como o som, o narrador e a utilização de fotografias em meio às imagens em movimento. O que nos fica é uma sensação de que a pluralidade, o que nos leva a inferir que uma realização audiovisual é sempre muito individual, mesmo se for feita, em grande parte, a partir do mesmo material de arquivo e a fim de atingir um objetivo ideológico
Abstract: This work is dedicated to the exploration of the different concepts, styles and audiovisual procedures documentaries that are constructed with found footage. For this, we presented seven non-fiction films compiled through images and sounds of the times of World War II and whose ideological stance is anti-Nazi. Although formal and thematic similarities, such films uses narrative strategies and narrative features as diverse ways that lend themselves to provide unique contributions to the language of nonfiction film. The text has three main chapters. The first, very conceptual, makes a wide contextualization of the material covered in both the formal point of view - the fact documentaries define themselves as collections of audiovisual products - as the narrative - his general subject (war documentary) and specific (anti-Nazi). In this chapter, we compare concepts like "found footage" and "compilation film"; mentioned different points of view of authors who are dedicated to analyzing this form of documentary practice and presents some aspects related to this kind of material, as its historiographical value, its presence on television and its relationship with the audiovisual vanguards. Later, in the second chapter, we present the filmic analysis. We observe what is each movie, how was your realization and what he represented to the society in which was inserted as well as what, for us, is today. We also comment their particularities as a media product in order to establish their different styles of communication. Finally, in the next chapter, we focus on audiovisual procedures as applied in narrative constructions of documentaries. This chapter arose from the need we have to address characteristics of the films in a comparative way. We included features like sound, the narrator and the use of photographs together with moving images. What we realize is a sense that the plurality, which leads us to infer that an audiovisual product is always very individual, even if made, in large part, from the same archival material and to achieve the same ideological goal
Doutorado
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Doutora em Multimeios
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Livres sur le sujet "Visual archives"

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Archivists, Society of, dir. Audio-visual archives administration. London : Society of Archivists, 1999.

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P, Harrison Helen, Unesco General Information Programme et UNISIST (Program), dir. Audiovisual archives : A practical reader. Paris : General Information Programme and UNISIST, United Nations Educational, Scientific and Cultural Organization, 1997.

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Introduction to audiovisual archives. London, UK : ISTE Ltd, 2011.

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Anne, Hanford, dir. Panorama of audiovisual archives : A contribution to the development of international film and video archive practice. London : BBC Data Publications, 1986.

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Digital audiovisual archives. London, UK : ISTE Ltd, 2011.

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Thierry, Rolland, dir. Les archives audiovisuelles : Histoire, culture, politique. [Paris] : Armand Colin, 2011.

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Archives de la ville de Québec. Inventaire analytique des archives audiovisuelles. [Québec] : Archives de la ville de Québec, 1988.

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Kofler, Birgit. Legal questions facing audiovisual archives. Paris : Unesco, 1991.

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Tsuji, Yasuaki. Eizō ākaibu-ron : Kiroku to kioku ga shōshasuru mirai. Okayama-shi : Daigaku Kyōiku Shuppan, 2020.

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Canada, National Archives of, et International Council on Archives, dir. Documents that move and speak : Audiovisual archives in the new information age : National Archives of Canada, Ottawa, Canada, April 30, 1990-May 3, 1990 : proceedings of a symposium. München : K.G. Saur, 1992.

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Chapitres de livres sur le sujet "Visual archives"

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Tamboukou, Maria. « Visual Technologies and ‘other archives’ ». Dans Women Workers' Education, Life Narratives and Politics, 155–89. London : Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-49015-5_5.

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Agnese, Roberta. « Archival Reenactement and the Role of Fiction ». Dans Cultural Inquiry, 91–98. Berlin : ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_10.

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The Atlas Group created a digital mixed-media archive of contemporary Lebanese history, made up of produced and found documents. These archives look immediately ambiguous: they don’t collect historical documents; they actually contain visual artefacts created by the Lebanese artist Walid Raad. These digital mixed-media archives — partly accessible on the web but also physically exhibited and performed — are not intended to preserve the memory of the past, but they become indeed useful to actualize history by giving it back in the form of a historical fiction. What if archives should not deal with memory, but with amnesia? And what kind of historical temporality do they re-activate?
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De Martino, Monica, Marina Monti, Simone Pastorino et Chiara Rosati. « Ontology-Driven Visual Browsing of Historical Industrial Archives ». Dans Digital Heritage. Progress in Cultural Heritage : Documentation, Preservation, and Protection, 716–23. Cham : Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13695-0_73.

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Scerbo, Rosita. « Afro-Colombian Women as Alternative Historical Archives ». Dans The Afro-Descendant Woman in Latin American Diasporic Visual Art, 163–84. New York : Routledge, 2024. http://dx.doi.org/10.4324/9781003378594-10.

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Pan, Lu, et Huang Sun-quan. « Multitude Asia : Huang Sun-quan on Articulation, Network, Asian Visual Archive ». Dans The (Im)possibility of Art Archives, 319–28. Singapore : Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5898-6_20.

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Yng-ruey, Jiing. « Rescuing Our Own Visual Heritage : Memoirs of a Taiwanese Folk Image Preservation Movement ». Dans The (Im)possibility of Art Archives, 297–306. Singapore : Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5898-6_18.

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Damsbo, Mads. « The value of archives and authenticity in exhibitions of visual culture ». Dans Economic Considerations for Libraries, Archives and Museums, 174–82. London : Routledge, 2021. http://dx.doi.org/10.4324/9781003037101-12.

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Yang, Hui. « Research on Unstructured Electronic Archives Query Based on Visual Retrieval Technology ». Dans Intelligent Computing Theories and Application, 576–84. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60799-9_52.

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Galligan, Gregory. « Re-visioning the Archives : On the Creation and Curation of Relational and Decolonial Visual Art Archives in Asia ». Dans The (Im)possibility of Art Archives, 27–56. Singapore : Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5898-6_3.

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Muhidine, Éléonore. « Architectural modernity in India Sources and perspectives for research. An introduction ». Dans Architekturen, 11–36. Bielefeld, Germany : transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467169-001.

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In this introduction, Eleonore Muhidine highlights the challenge of accessing visual archives of modern architecture in India. Born out of a need to locate visual sources on India's cities from Europe, this collection, which has brought together authors from various academic backgrounds to comment on it, also provides an opportunity to reflect on the material of the photographic postcard for 20th-century historical research. This European invention reflects colonial imaginaries, but also gives a glimpse into cities that have largely changed over the last few decades.
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Actes de conférences sur le sujet "Visual archives"

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Fernandes, Marta. « VISUAL DIGITAL ARCHIVES THE FIELD OF INFORMATION VISUALIZATION IN DIGITAL ARCHIVES ». Dans 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb51/s17.046.

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Burch, Michael, Stephan Diehl et Peter Weißgerber. « Visual data mining in software archives ». Dans the 2005 ACM symposium. New York, New York, USA : ACM Press, 2005. http://dx.doi.org/10.1145/1056018.1056024.

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Carlos, Jennifer Roldan, Mathias Lux, Xavier Giro-i-Nieto, Pia Munoz et Nektarios Anagnostopoulos. « Visual information retrieval in endoscopic video archives ». Dans 2015 13th International Workshop on Content-Based Multimedia Indexing (CBMI). IEEE, 2015. http://dx.doi.org/10.1109/cbmi.2015.7153618.

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Pelizzari, Andrea, Vincent Descargues et Mihai P. Datcu. « Visual information mining in remote sensing image archives ». Dans International Symposium on Remote Sensing, sous la direction de Sebastiano B. Serpico. SPIE, 2002. http://dx.doi.org/10.1117/12.454158.

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Ursu, C., V. Tablan et H. Cunningham. « Semantic analysis for tomorrow's audio-visual digital archives ». Dans 2nd European Workshop on the Integration of Knowledge, Semantics and Digital Media Technology (EWIMT 2005). IET, 2005. http://dx.doi.org/10.1049/ic.2005.0758.

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Beleznai, C., G. Fernandez, S. Veigl et B. Strobl. « GPGPU-accelerated visual search in large surveillance archives ». Dans 4th International Conference on Imaging for Crime Detection and Prevention 2011 (ICDP 2011). IET, 2011. http://dx.doi.org/10.1049/ic.2011.0103.

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Viaud, Marie-Luce, Jéröme Thièvre, Hervé Goëau, Agnes Saulnier et Olivier Buisson. « Interactive components for visual exploration of multimedia archives ». Dans the 2008 international conference. New York, New York, USA : ACM Press, 2008. http://dx.doi.org/10.1145/1386352.1386440.

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Rehkopf, Paul G., Joseph W. Warnicki, Mark R. Nelson, James L. Cambier et Stuart I. Brown. « Image Processing in Ophthalmology A New Clinical Noninvasive Diagnostic Modality ». Dans Noninvasive Assessment of Visual Function. Washington, D.C. : Optica Publishing Group, 1985. http://dx.doi.org/10.1364/navf.1985.wa2.

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A computer imaging system has been developed which acquires, archives, retrieves, processes and provides security for images derived during ophthalmic testing procedures. Film copies of the electronically stored or processed images may be made for publication, lectures or for a referring physician.
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Watanabe, Yousuke, Yi Wu et Haruo Yokota. « Digesting Online Multimedia Presentation Archives Based on Visual Effects ». Dans 2010 International Conference on P2P, Parallel, Grid, Cloud and Internet Computing (3PGCIC). IEEE, 2010. http://dx.doi.org/10.1109/3pgcic.2010.81.

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Wang, Rui, Changjing Wu, Jian Liang, Yue Wang, Wenjie Li et Guanlei Dong. « Archives Robot Research Based on Manipulator and Visual Navigation ». Dans 2020 IEEE 5th Information Technology and Mechatronics Engineering Conference (ITOEC). IEEE, 2020. http://dx.doi.org/10.1109/itoec49072.2020.9141629.

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Rapports d'organisations sur le sujet "Visual archives"

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Canefe, Nergis. Syrian Refugee Resettlement in Canada. York University, 2018. http://dx.doi.org/10.25071/10315/41552.

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This web archive strives to offer a documented commentary on the most recent addition to the Canadian resettlement scheme, the Blended Visa Office-Referred (BVOR) program. The program constitutes a modified version of private sponsorship of refugee and immigrant applicants; it has to be examined in relation to both private and government resettlement schemes, and in comparison to the historical use of private sponsorship for Indochinese refugees. The documents presented here allow an examination of the background debates that led to the institutionalization of the BVOR program, the challenges BVOR is intended to address, public and political debates concerning the proposed division of public and private responsibility, and the links made between this particular model and the public acceptance of the en masse resettlement of select Syrian refugees in Canada​. This refugee crisis raises important political and legal questions for both the Canadian public and Canadian policymakers. Who is deemed to be a deserving refugee, who is eligible for resettlement and based on what criteria, keeps changing. The current and future saliency of migration could be succinctly revealed by examining factors such as which categories of migration hold significance, how they are constructed and determined, and by whom. The debate continues and must do so above and beyond policy measures, legal requirements and formal immigration regimes. It is also of utmost importance to underline that private sponsorship programs are to be in place as a complementary element to government-assisted resettlement commitments. They cannot eradicate the necessity of the Canadian government to fulfill its international obligations and humanitarian commitments in the face of mass displacements. The Syrians are unlikely to be the last group to suffer such a fate.
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