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Letteratura scientifica selezionata sul tema "Documentary photography"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 7 settembre 2024

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Articoli di riviste sul tema "Documentary photography"

1

Noble, Anne, e Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen". Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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Abstract (sommario):

In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing

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2

Padmanabhan, Lakshmi. "A Feminist Still". Camera Obscura: Feminism, Culture, and Media Studies 35, n. 3 (1 dicembre 2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.

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3

Dondero, Maria Giulia. "Photography as a Witness of Theatre". Recherches sémiotiques 28, n. 1-2 (7 ottobre 2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.

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Balčus, Zane. "OF STILL AND MOVING IMAGES: STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES". Culture Crossroads 23 (10 gennaio 2024): 216–25. http://dx.doi.org/10.55877/cc.vol23.377.

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Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still photographs feature on the films’ credits, but more significant is photography’s use as a research tool for preparing the film. The intermedial studies have explored the interrelationship of different media and used intermediality as a tool for close reading of specific works, among other applications. The connection of cinema and photography represent the potential of intermedial approach through the technological, aesthetic, institutional practices. Specifically documentary cinema in its relation to photography shares additional issues of the meaning of documentality and representation of reality. Through close reading of Hercs Franks’ first films, I would argue that Franks transcends normative documentary function in the use of still photographs [Hallas 2023] and demonstrates the intermedial practice in combining photography and documentary filmmaking.

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Colner, Miha, e Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović". Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research

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6

Langendorf, Richard. "Documentary photography". Computers, Environment and Urban Systems 15, n. 1-2 (gennaio 1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.

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7

Arsita, Adya. "JUKSTAPOSISI FOTOGRAFI DI NOVEL GRAFIS ‘THE PHOTOGRAPHER’". spectā: Journal of Photography, Arts, and Media 2, n. 2 (24 aprile 2019): 135–44. http://dx.doi.org/10.24821/specta.v2i2.2554.

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AbstrakPenelitian ini hendak mengkaji fungsi-fungsi dokumenter dalam karya fotografi yang divisualisasikan berdampingan dengan gambar-gambar komik dalam sebuah novel grafis berjudul ‘The Photographer: Into War-Torn Afghanistan with Doctors without Borders’. Tujuan dari penelitian ini adalah untuk mencari tahu apakah nilai dokumenter karya foto bisa tetap diapresiasi layaknya foto dokumenter ataukah ada peralihan fungsi ketika dua jenis piktorial disandingkan bersamaan. Metode penelitian yang digunakan untuk menganalisis adalah metode kualitatif yang menganggap bahwa setiap petunjuk adalah penting untuk dianalisis. Kemudian potongan-potongan informasi yang didapat dikaji dengan pendekatan fotografi dokumenter. Diharapkan hasil penelitian ini dapat memberikan kontribusi dalam ranah ilmu kajian fotografi sekaligus kajian komik (comic studies). Dalam ranah fotografi, fotografi dokumenter akan makin ‘berbicara’ dan memaksimalkan fungsinya ketika terbantu dengan teks piktorial lain. Untuk ranah kajian komik, hadirnya citraan fotografi justru akan memperjelas pesan yang hendak disampaikan kepada khalayak melalui gambar-gambarnya. Kata kunci: jukstaposisi, fotografi, novel grafis, dokumenter AbstractJuxtaposition of Photography in a Graphic Novel Titled ‘The Photographer’. This research studied the documentary function in photography works visualized side to side with the comic drawings in a graphic novel titled ‘The Photographer:Into War-Torn Afghanistan with Doctors without Borders’. The aim of this research was to find out whether the documentary photographs are still appreciated as they are, or there are any changes of function when those two pictorials are juxtaposed. The method employed in this research was qualitative method which considered that each clue was important to be analyzed. Then, each of them would be studied using approaches from the view point of documentary photography. The result of this research hopefully could give a contribution to the photography studies and comic studies. Photographs will ‘speak louder’ and will have their greatest value when supported by other kind of pictorials. While in comic studies, the photographs will be able to send messages better through their drawings when juxtaposed with photographs. Keywords: juxtaposition, photography, graphic novel, documentary

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8

Нецић, Неда. "ДОКУМЕНТАРНОСТ И ФОТОЖУРНАЛИЗАМ У ПРОМЕНИ ГУТЕНБЕРГОВОГ ДРУШТВА". БАЛКАНСКЕ СИНТЕЗЕ 9, n. 1 (23 novembre 2022): 31–44. http://dx.doi.org/10.46630/bs.1.2022.03.

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Abstract (sommario):

The appearance of photography in 19. century had stopped the fluidity of time and enabled the future generations to have an insight into history. Photographs are a visual testimony of the past and in the period of their occurrence people believed that photographs could provide a true and objective account of reality. Documented war conflicts, people, places and events can enable us an insight into the past. Implementation of photographs into the press gave rise to photojournalism. The press had abundantly used the photography as an illustration to the texts, and the people craved for information and entertainment provided by the press. As the photographic technique evolved, the possibilities of manipulation by means of photography also advanced. With the advancement of media and the photography as a very powerful medium, the people became aware of the possibilities of manipulation by the media. Different examples from history give testimony of how interest groups used the photography with an aim to achieve their political and economic interests. The ethics of these photographs is thus being questioned, since the authentic documentary has often remained marginal. The subject of this study is to give a historical review of photography and its documentary character, and to point out the problems of objectivity, that is ethics of photography since its occurrence till present days.

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Pevec, Iza, e Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk". Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program SewonArtSpace in Yogyakarta, Indonesia. The project Afghan Box Camera, which he developed with the ethnographer Sean Folley, focuses on the photographic praxis in Afghanistan, mainly on the type of a simple instant camera, which was traditionally used there but its use is now in decline. They investigated the origins, techniques and the many personal stories of the photographers using or having used this type of camera and also made instructional videos on how to build or use one. Attention to the overlooked photographic practices, history and contexts marks also his current project The Myanmar Photo Archive, a growing collection of Myanmar photographs that were created during and after the colonial period – the work of local photographers from that period has namely remained unknown until today. Keywords: local history, Myanmar photography, photographic backdrop, western view

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Kuo, Li-Hsin. "Politicising Documentary Photography". Javnost - The Public 14, n. 3 (gennaio 2007): 49–64. http://dx.doi.org/10.1080/13183222.2007.11008946.

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Più fonti

Tesi sul tema "Documentary photography"

1

Abdullah, Ismail Bin. "Documentary photography : a study of nineteenth century documentary photography with special reference to West Malaysian historical photographs 1874-1910". Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344016.

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2

Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /". Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.

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3

Opal, Jack A. "Rethinking Documentary Photography: Documentary and Politics in Times of Riots and Uprisings". Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366971692.

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4

Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins". Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience. Among the theoretical issues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism. The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmauel Levinas' philosophy of the Other with Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Admininstration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.

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Opal, Jack A. "Documentary Photography and the Edge of the Sword". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.

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6

Mitropolous, Maria. "Regimes of truth: Documentary photography in the margins". Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/106899/1/T%28CI%29%2082%20Regimes%20of%20truth.pdf.

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Abstract (sommario):

This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience. Among the theoretical ISsues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism. The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmanuel Levinas' philosophy of the Other with a Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Administration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.

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7

Johansson, Mouafik Adam. "Photography genres - A research study on the difference between documentary photography & photojournalism". Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23212.

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För att sammanfatta mitt examensarbete har jag undersökt vad de bakomliggande faktorernaför en bilds genrekategorisering påverkas av, ifall det är innehållet i bilden som påverkar desseffekt eller om det är antingen publikskontexten/produktionskontexten som avgör en bildsgenre. Till min hjälp bestämde jag mig för att åka till Japan och träffa en fotograf vid namnSaid Karlsson för att genomföra en etnografisk studie och intervjua honom på plats. Delsgjorde jag detta genom att hitta skillnader mellan varandras bilder och att fotografera sakersom intresserar mig i Japan som blev en del av min medieproduktion. Vad undersökningen resulterade, med hjälp av intervjun och diskussionerna om varandras bilder, var att en bilds genre avgörs inte av innehållet i en bild, det är i kontextsammanhanget bilden befinner sig inom.
To summarize my thesis, I investigated what the underlying factors for an image genre categorization is influenced by, if it is the content of the image, which affects its effect or if it is either the audience context / production context that determines a picture's genre. To my help I decided to go to Japan and meet a photographer named Said Karlsson to conduct an ethnographic study and interview him on the spot. Firstly, I did this by finding the differences between each image and to photograph things that interest me in Japan that became part of my media production. What investigation resulted, with the help of the interview and discussions about each other's pictures, was that a picture's genre is not determined by the content of an image, it is in the context context, the picture is within.

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Le, Tallec Anne. "Le nouveau Documentaire Social : critique et renouveau du documentaire photographique américain sur la côte Ouest des Etats-Unis entre 1970 et 1980". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010542.

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Un groupe d'étudiants rassemblés par des idéaux artistiques se forme à l'Université de Californie San Diego dans la décennie 1970. Fred Lonidier, Martha Rosier, Allan Sekula et Phel Steinmetz, résolument tournés vers la photographie, élaborent une pensée collective sans toutefois former un groupe officiel. Pourtant, le partage d'une émulation propre à la côte Ouest du pays et à l'université où la pensée de figures tutélaires comme D. Antin, H. Marcuse, J. Baldessari, B. Brecht, H. Lefebvre ou H. Haacke stimule collectivement les esprits, confère aux méthodes et démarches des photographes une résonnance de groupe. En plus, Documentary and Corporate Violence, texte rédigé par A Sekula en 1976, utilise le terme de petit groupe pour qualifier les photographes. Ce texte auquel nous attribuons le statut de manifeste, critique la lecture moderniste des photographes documentaires américains traditionnels. Il expose également les attitudes mises au point par le groupe que nous identifions sous le nom de Nouveau Documentaire Social. Parmi celles-ci se distingue une pratique photographique documentaire ouverte à d'autres médium, une forte présence textuelle, des scénographies et circuits d'exposition repensés, des audiences élargies, un intérêt pour des thématiques ancrées dans l'actualité militante, ou encore un regard vers le quotidien et le banal comme témoins des bouleversements des schémas sociétaux. Objet à déconstruire, la photographie moderniste et les institutions qui la célèbrent représentent une tradition documentaire à renouveler. Ce contexte de remise en question collective et les propositions documentaires qui en sont issues constituent l'objet de cette étude
A group of students gathered around shared artistic ideals comes to life at University of California San Diego in the nineteen-seventies. Fred Lonidier, Martha Rosier, Allan Sekula and Phel Steinmetz, ail firmly focused on photography, elaborate a collective thought albeit never actually founding an official group. However, a shared emulation endemic to the West Coast and to the university where ideas birthed by leading thinkers such as D. Antin, H. Marcuse, J. Baldessari, B, Brecht, H Lefebvre or H. Haacke collectively stimulates the minds of those around, adds a certain group resonance to the photographers' methods and processes. Furthermore, Documentary and Corporate Violence, a text written by A Sekula in 1976, uses the term small group to refer to the photographers involved This text - to which we give the status of manifesto - criticizes the modernist reading of traditional american documentary photographers. It also exposes the attitudes developed by this group which we coin as New Social Documentary. We will distinguish one of these attitudes from the others : a documentary photographic practice which opens itself to other media, displays a strong textual presence, newly-thought scenography and exhibition paths, widened audiences, an interest in themes strongly anchored in contemporary activism, and which transforms what was so far considered as banal and mundane into testimonies of profound changes in societal structure. Modernist photography, an object to deconstruct, as well as the institutions that celebrate it represent a documentary tradition which needs to be renewed. The new documentary propositions along with the context of collective questioning from which they derive constitute the object of this study

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Grayson, Louise. "Streets apart genres of editorial photographs and patterns of photographic practice". Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50796/1/Louise_Grayson_Thesis.pdf.

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My doctoral research contributes to visual scholarship by investigating and defining representational strategies of three photographic genres – press photography, photojournalism, and documentary photography – using an ‘action genre’ approach (Lemke, 1995: 32). That is, rather than taking final photographic forms as being definitive of genre, I identify patterns of ‘activity types’ involved in the production of editorial photography to define genre (1995: 32). While much has been written on editorial photography, there is no organised body of scholarship that distinguishes between these three very different modes of photographic practice. I use a major documentary project to exemplify and analyse the impact of these genres on my own photographic practice, and to explore the production of meaning within the framework of these professional genres. I triangulate the theoretical framework through the use of interviews with established Australian professionals.

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Gwaze, Alex. "Public mirror: legitimizing 'social' photography as a contemporary discipline". Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29561.

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With all the public information about any famous person, topic or event 'googleable’ on the Internet, there seems to be nothing new for 'digital natives’ to discover other than the elusive Self. The Self is the 'new frontier’ and the smartphone camera is at the forefront of this quest, unearthing and exhibiting different kinds of content everyday. With over 95 million photographs and videos shared on Instagram daily; Photography has merged with social networking sites and applications (SNS/A) to become a recognisable phenomenon called – 'Social’ Photography. Despite its rich association with legitimate visual art-forms and numerous scholarly articles examining it’s various forms – the term 'Social’ Photography is unfamiliar to most. This inquiry discusses 'Social’ Photography in relation to existing literature to argue for its establishment as a legitimate discipline within the Creative Arts. By acknowledging its subjectivity and utilization of digital technologies, this study employed an interpretive group of methods and identified six characteristics of 'Social’ Photography – namely, (i) Activity, (ii) Participation, (iii) Identity, (iv) Glamour, (v) Protest, and (vi) Spectacle – that exemplify its capacity to curate a meaningful democratic public image. These six aspects can be used to categorize and formalize individual behaviour that can be analysed and interpreted to foster a better understanding of 'Social’ Photography as a discipline.

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Più fonti

Libri sul tema "Documentary photography"

1

Rothstein, Arthur. Documentary photography. Boston: Focal Press, 1986.

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2

Bogre, Michelle. Documentary Photography Reconsidered. London; New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103516.

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3

Kadic, Fatima. Documentary photography and propaganda. London: LCP, 2001.

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4

Biasi, Mario De. Mario De Biasi: Dal fotogiornalismo alla fotografia astratta. Venezia: Marsilio, 2010.

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5

author, Stanković Branislav, e Gajić Branimir author, a cura di. (Neviđeni) Beograd : U objektivu Riste Marjanovića 1936-1946: The Unseen Belgrade : (In Rista Marjanovic Objective 1936-1946). Beograd: [Službeni glasnik], 2021.

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6

National Archives of Canada. Documentary Art and Photography Division. Documentary Art and Photography Division. Ottawa: Ministry of Supply and Services, 1992.

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7

Gordon, Stillman. Groundwork: A documentary photography project. Richmond, Virginia: Gordon Stillman Photography, 2011.

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8

James, Burant, National Archives of Canada. Documentary Art and Photography Division., Public Archives Canada. Picture Division. e National Photography Collection (Canada), a cura di. Documentary Art and Photography Division. Ottawa, Ont: National Archives of Canada, 1992.

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Peter, Wilkinson, a cura di. Photography yearbook. Tolworth: Fountain Press, 1986.

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10

Homma, Takashi. New documentary. Tokyo: Asahi Shimbun, 2011.

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Più fonti

Capitoli di libri sul tema "Documentary photography"

1

Bogre, Michelle. "Reconsidering Documentary Photography". In Documentary Photography Reconsidered, 14–71. London; New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-1.

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Bogre, Michelle. "Documentary Photography and Memory". In Documentary Photography Reconsidered, 72–119. London; New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-2.

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Bogre, Michelle. "The Documentary Photograph as Evidence". In Documentary Photography Reconsidered, 120–53. London; New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-3.

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Bogre, Michelle. "The Photographer as Witness". In Documentary Photography Reconsidered, 154–201. London; New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-4.

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Bogre, Michelle. "Narrative". In Documentary Photography Reconsidered, 202–32. London; New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019.: Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-5.

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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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Harper, Douglas. "Documentary photography and visual sociology". In Visual Sociology, 8–49. 2^a ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003251835-2.

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Anderson, Joel. "From the photo session to documentary photography". In Theatre & Photography, 48–59. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_8.

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Bersch, Al, e Leslie Grant. "From Witness to Participant: Making Subversive Documentary". In Oral History and Photography, 187–201. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120099_11.

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Downing, Taylor. "CGI and the End of Photography as Evidence". In The Documentary Film Book, 68–72. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_6.

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Atti di convegni sul tema "Documentary photography"

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Martins Farina, Mauricius, e Mateus Souza Lobo Guzzo. "Engagement and estrangement: contribution to documentary photography methodology". In XXIII Congresso de Iniciação Científica da Unicamp. Campinas - SP, Brazil: Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-38145.

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Safronova, Anna. "FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.09.

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The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography both in modern journalism and in the photo project are considered, the main methods of creating the content of a photo story or photo series in photo books are substantiated. Traditional reportage documentary photography, intended for use primarily for commercial purposes in illustrated magazines, is also an important means of creating independent documentary projects or photo books. Such an approach is especially valuable if it reproduces important historical events, as in the Ukrainian photo books under consideration. Ukrainian photo books are distinguished by a variety of techniques for creating content and post-processing methods that appeal to the aesthetics of postmodernism. The use of filmy contrast black and white photography, grainy or blurry images, disruption of the composition, introduce a unique and original form of expressiveness into the photo book. Due to the documentary photography, direct nature of non-staged shootings and the original style of representation, Ukrainian photo books, which are both a document of history and a reflection of the subjective vision of the author, continue to arouse interest and resonate with the viewer.

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Li, Xiaozhou. "The Evolution of the Style of Chinese Documentary Photography". In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.154.

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Hill, Rodrigo, e Tom Roa. "Place-making: Wānanga based photographic approaches". In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.

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Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.

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Fan, Liu, e Zhang Yansong. "Research on the “Instantaneity” of Documentary Photography from the Perspective of Reception Aesthetics". In 2021 International Conference on Modern Educational Technology and Social Sciences (ICMETSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210824.032.

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Way, Kate. ""Reading the World" Through Camera Lens: Using Social Documentary Photography for Secondary Students' Civic Engagement". In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2016944.

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NECHIFOR, Oana. "(At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0025.

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The current presentation includes several queries regarding the interaction of migration and globalization – one of the most significant phenomena of social transformation in recent decades, as well as the meanings that this interaction presents for artistic research and practice. The major social and cultural transformations that have taken place in recent decades following more intense migratory movements have sparked an interest among artists for creating visual discourses, which, by using languages specific to different genres and environments, contribute to the dissemination of knowledge about migrants and migratory experiences different from the discourses generally offered and exploited by the media and public opinion. In cultural studies, the mobility turn also influences how contemporary art reflects on the direct and indirect implications of migration. The selection of works we analysed (which mainly use the medium of documentary photography) challenges the way we understand the notions of space and time, by exploring ideas regarding the concepts of (at)home and road, which are, moreover, two of the notions that undergo most changes during migratory experiences. The artistic projects selected reconsider defining the concept of (at)home as the place where the individual builds his sense of belonging, referring only to the physical house and not just to a single house set in an immovable place, but considering multiple connotations of the idea of home. Migrants' personal narratives reveal the ways in which individuals move between multiple homes, developing attachments and reinventing their identities along the way. Considering both the international context of migration and the particular case of Romanian economic migration as a recent phenomenon with important socio-cultural implications, I sought to investigate through my own artistic practice how documentary photography can become an environment for reflection on the topic, by combining autobiographical elements and a subjective discourse added to the objective dimension.

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TALPĂ, Svetlana. "The importance of noting dance on paper as a particular method of teaching-learning-evaluation of dance disciplines". In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p155-159.

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This article discusses practitioners who have contributed to the development of the process of capturing dance or dance movements on paper, through: notation, photography and film. The reflections of these personalities, such as Ann Hutchinson, Rudolf Von Laban, Eadweard Muybridge, Lois Greenfield, Ted Shawn, Norman McLaren and Sue Healey, included the definition of direct research on how these three documentary media interact to describe a dancing in various choreographic genres. The aim of this research is to highlight the importance of noting and capturing the body in motion, to see if it is possible to make an evolution in the process of teaching-learning-assessment of dance disciplines, by analyzing and "reading" a document, being able to communicate dance to the dancer / student when a living body is absent.

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Yancheva, Gergana, Kamelia Planska-Simeonova e Svetoslava Dimitrova. "EDUCATION IN DOCUMENTARY AND APPLIED PHOTOGRAPHY AS PART OF THE TRAINING OF STUDENTS IN THE PROFESSIONAL FIELD PUBLIC COMMUNICATIONS AND INFORMATION SCIENCES. PROJECT RESULTS". In 13th annual International Conference of Education, Research and Innovation. IATED, 2020. http://dx.doi.org/10.21125/iceri.2020.0873.

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Wenhao, Xu. "Dialogue Between Sincerity and Piety: A Study on the Artistic Characteristics of Documentary Photography Works of Lu Nan’s Four Seasons: Daily Life of Tibetan Peasants". In 2021 International Conference on Culture, Design and Social Development (CDSD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220109.041.

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Rapporti di organizzazioni sul tema "Documentary photography"

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Swanson, Benjamin, Grant Meyer e Julie Coonrod. Coupling of Hydrologic/Hydraulic Models and Aerial Photographs Through Time, Rio Grande Near Albuquerque, New Mexico: Report Documentary 2007 Work. Fort Belvoir, VA: Defense Technical Information Center, agosto 2010. http://dx.doi.org/10.21236/ada529438.

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