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Artykuły w czasopismach na temat "Photography – political aspects"
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Haddour, Azzedine. "Bread and Wine: Bourdieu's Photography of Colonial Algeria". Sociological Review 57, nr 3 (sierpień 2009): 385–405. http://dx.doi.org/10.1111/j.1467-954x.2009.01846.x.
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The photography of Bourdieu, whilst documenting aspects of his sociological work in Algeria, problematizes the relationship between its photographic referents and their history. To grasp this relationship, I will decode the historical signification of three photographs taken by Bourdieu in the mid-1950s when Tillion published L'Algérie en 1957 and Sartre ‘Le colonialisme est un système’ situating Bourdieu's photographic and sociological work in relation to both Tillion and Sartre. Although the influence of Tillion on Bourdieu is discernable, especially in Sociologie de l'Algérie, their political positions are at variance. Bourdieu's snapshots provide us with a perspective on how to interpret the causes of the vagrancy and famine in colonial times. Despite his avowed hostility to Sartre, Bourdieu concurs with the latter's critique of colonialism. His three photographs together project a political affinity with both Sartre and Barthes. The impoverishment of native Algerian society was not due to the fact that it failed to catch the train of progress, as Tillion intimates; rather it resulted from its systematic despoilment by colonial France.
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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan". Media, War & Conflict 11, nr 3 (13.07.2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Moore, David. "The Lisa and John Slideshow (2017): A Play about Photography". Arts 12, nr 3 (26.05.2023): 109. http://dx.doi.org/10.3390/arts12030109.
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The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the former project were captured, as it reaches into photographs, opening contextual focus on the social, political and relational aspects of production. This paper is drawn from my Ph.D. thesis, What the Subject Does. Lisa and John and Pictures from the Real World submitted to the University of Sussex in December 2022. The question asked within this commentary is: How can unequal power relations within photographic representation of working-class communities be renegotiated through trans-media practice and the use of theatre?
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Robbins, Derek. "Gazing at the Colonial Gaze: Photographic Observation and Observations on Photography Based on a Comparison between Aspects of the Work of Pierre Bourdieu and Jean-Claude Passeron". Sociological Review 57, nr 3 (sierpień 2009): 428–47. http://dx.doi.org/10.1111/j.1467-954x.2009.01848.x.
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The paper was provoked by viewing various selections of the photos taken by Bourdieu in Algeria in the late 1950s and early 1960s. The paper is divided into two parts. The first part considers three stages in the production and consumption of Bourdieu's photos. The possibility that the third of these stages – the gallery display of Bourdieu's photos in the present – might be a betrayal of the sociology of photography and of art galleries that Bourdieu attempted in the 1960s leads to the discussion of the second part of the paper. Part 2 first contextualises the work on photography undertaken within the Centre de Sociologie Européenne in the early 1960s and then, secondly, discusses the emergence of divergent sociologies of photography in the work of Bourdieu and Passeron. The purpose of the discussion is to ask which of the theories of photography which developed in association with Bourdieu's photographic activity now enables us better to respond to Bourdieu's photographic products.
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Kelly, Marjorie, i Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf". Hawwa 19, nr 1 (22.02.2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.
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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-political commentary. The media coverage of Qatar’s Shaykha Mūza is analyzed in terms of her use of clothing as nonverbal communication and as a form of soft-power politics. It is followed by a discussion of the rules – formal and informal – for publishing photos of females. The paper concludes with a survey of Gulf females’ use of selfies. Thus, three aspects of photography – as art, as photojournalism, and as private communication – demonstrate how Gulf women visually represent their identities.
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Stępniak, Krzysztof. "The image of Russia’s aggression against Ukraine on the front pages of “Rzeczpospolita” and “Gazeta Wyborcza” – an analysis of the framing of war photographs". Studia Medioznawcze 24, nr 4 (30.12.2023): 92–109. http://dx.doi.org/10.33077/uw.24511617.sm.2023.4.782.
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This article aims to illustrate the initial weeks of Russia’s full-scale invasion of Ukraine, as well as the preceding period, through press photography displayed on the front pages of two influential Polish daily newspapers, “Gazeta Wyborcza” and “Rzeczpospolita”, from February 1 to March 31, 2022. Research method: The study utilizes visual framing theory, a less commonly applied approach in visual research compared to classical framing analysis and not as extensively discussed in media studies. Results: The investigation reveals that “Gazeta Wyborcza” and “Rzeczpospolita” did not significantly differ in their daily visual representation of Russia’s invasion of Ukraine. Both newspapers predominantly featured photographs highlighting the conflict frame. Frames focusing on political leadership and military aspects were less prominent. High saturation of photography with the frame of human interest was revealed. Originality/Cognitive value: This article contributes to the understanding of how Russia’s invasion of Ukraine is depicted in the non-verbal content of leading Polish dailies.
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Ptiček, Petra, Ivana Žganjar, Miroslav Mikota i Mile Matijević. "Technical Aspects of Web Photography as a Medium of Tourism Development". Tehnički glasnik 15, nr 4 (1.11.2021): 467–74. http://dx.doi.org/10.31803/tg-20210506103212.
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Information and communication technology is an important factor for national, regional and local sustainable tourism development according to the long-term Croatian national strategic plan. New forms of information, such as web sites; new media, materials, political and social change, all influence tourists’ decisions when choosing specific destinations. The aim of this research is to determine, based on the analysis of the tourism media campaign, the relationship between new communication trends and the application of photography as a medium that influences the experience when choosing a destination and the importance of crucial information factors on web pages based on their technical and visual characteristics.
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Topolska, Anna. "Shaping Memory through Visuality". Journal of Educational Media, Memory, and Society 15, nr 1 (1.03.2023): 62–79. http://dx.doi.org/10.3167/jemms.2023.150104.
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Abstract This article focuses on war photography as a cultural phenomenon as used in secondary school history textbooks in the context of post-1989 Poland. It argues that the focus on the Second World War, its military aspects, and the threads previously erased from public memory, was specific to the Polish context. It also proves that the visuality of Polish textbooks after 1989 tends to correspond with the broader Western iconosphere as a result of political and cultural transformation. The mechanisms of visual communication underpinning these tendencies consist in several overlapping layers of experiencing and perceiving photography, such as studium, punctum (Roland Barthes), and spectrality (Michel de Certeau, Maciej Bugajewski). The article also postulates a visual literacy that holistically considers all of these aspects.
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Antola, Alessandra. "Ghitta Carell and Italian studio photography in the 1930s". Modern Italy 16, nr 3 (sierpień 2011): 249–73. http://dx.doi.org/10.1080/13532944.2011.586499.
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This article explores the issue of elite representation through photography during the 1930s in Italy. It examines how modern technology affected representation and refers specifically to the work of Ghitta Carell, a photographer who became very successful by portraying prominent Fascist men and women in Italy, including the Duce. Images of the dictator had been continually developed since the late 1920s and frequent and various representations of his person, including the face, were pervasive. Carell's idealised style was much appreciated by high society and Fascist officials alike, while her work also has a darker emotional content that borrows from a painterly tradition. Although not engaged directly by the regime, Carell's work has to be considered as both separate from and complementary whilst also adding to the Fascist aesthetic. She was complicit with the cult of the Duce while revealing aspects of Mussolini's personality that other photographers avoided or missed.
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Sweetman, Paul. "Revealing Habitus, Illuminating Practice: Bourdieu, Photography and Visual Methods". Sociological Review 57, nr 3 (sierpień 2009): 491–511. http://dx.doi.org/10.1111/j.1467-954x.2009.01851.x.
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Having taken taking as one of its starting points a concern to avoid fetishising method – or employing any form of method for its own sake – this paper then argues that visual methods of research may be particularly helpful in investigating areas that are difficult otherwise to verbalise or articulate. These include Bourdieu's understanding of habitus; our predisposed ways of being, acting and operating in the social environment that Bourdieu himself suggests are ‘beyond the grasp of consciousness, and hence cannot be touched by voluntary, deliberate transformation, cannot even be made explicit’ ( Bourdieu, 1977 : 94). Having outlined what Bourdieu means by habitus and considered some of the difficulties surrounding its operationalisation, the paper goes on to consider Bourdieu's own use of photography and understanding of photographic practice. It is then argued that we can move beyond Bourdieu's position by employing visual methods specifically to uncover and illuminate aspects of habitus. Where research participants are directly involved in this process this also means that visual methods can be potentially transformative, allowing for the development of forms of critical self-awareness amongst research participants of the sort that Bourdieu attributes to ‘socioanalysis’ ( Bourdieu, 1999 : 611).
Rozprawy doktorskie na temat "Photography – political aspects"
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譚美兒 i Mei-yee Eve Tam. "Orientalism and photography". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B4413938X.
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Agbo, George Emeka. "Photography, facebook and virtualisation of resistance in Nigeria". University of the Western Cape, 2016. http://hdl.handle.net/11394/5465.
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Philosophiae Doctor - PhDNigerian post-independence history (1960 to the present date) is steeped in socio-political upheavals. The majority of the citizens are frustrated with the injustice, inequality and fraudulent politics that pervade the country. The central argument of this thesis is that these conditions are critiqued through the photographic practices produced on Facebook. Through the circulation of photographs and the conversations around them on the social media platform, Nigerians demand social change. The sociality that underpins the visuality of social networking is explained by Ariella Azoulay's notion of "civil discourse," which theoretically organises the thrust of this thesis. The formulation suggests that the photograph is an outcome of the interaction among many individuals. It is a site of exchange, a process which I have argued to be reinforced by digital and internet technology. For five years, I have followed the visual social production on Facebook in the context of virtual participant observation, downloading photographs and the comments that go with them. A number of the photographs and the accompanying comments are analysed with semiotic tools to understand the key concerns of Nigerians. To explain how the agitation is presented, and the efforts invested in the production, I have reflected on the related questions of technological mediations and appropriations. A network of digital infrastructure conditions the creation and editing of the photographs and their dissemination and meaning-making processes on Facebook. Again, the Nigerian example demonstrates how state failure fuels activism, insurgency and counter-insurgency, all of which are actuated by digital photographic production. In this situation, the photographic image is burdened with the task to produce violence and to counter it. What ultimately emerges are complex relations among people, photography and technology. I conclude that the virtual movement presents possibilities for socio-political transformation in Nigeria. From the perspective of photography, this thesis contributes to the debates in social media activism and how it is shaping politics in Africa. It demonstrates the possibility of reading the tensions in an African postcolony through the connected digital, visual and social practices of the ordinary people. We are prompted to acknowledge the influence of digital infrastructure in the political use of the image.
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Donelson, Sarah L. "Cries of agony : a work in photographic montage". Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
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The statement of the problem for this creative thesis project was: How to construct photomontages that expressed the photographer's personal concerns regarding the human condition and the environmental status of the earth. Secondary components of this problem were the use of color within the work and how to reproduce this color. The goal of this project was: To stimulate individual awareness resulting in a reevaluation of one's own position and responsibilities towards humanity and the environmental status of the earth.A description of the significance of this problem is given along with supportive research. This project provided the photographer with an opportunity to use an artistic process to express environmental concerns that grew out of the photographer's environmental studies.Methods used to solve this problem included the collection of visual elements from readily available pre-printed material such as magazines and books. By combining these elements together in a new context a collage or montage was created. After the montage image was complete it was photographed on color slide film. These color slides were then placed in a projector system connected to a color laser copier. Each slide was projected on to the bed of the copier and scanned. This scanner communicated the image's digital signal to a color laser printer which produced a color laser print.Finally, each photomontage color print was window matted on white 100% acid free rag mat board and placed in a white frame for exhibition. An exhibition was held in the Ball State University Theatre Lounge/Gallery. Included in the appendices of this thesis is a copy of the exhibition flyer, artist statement and press release.A description of each individual piece is provided within_ this thesis. Addressed in this section are the formal properties of each photomontage. Techniques used in the construction of each photomontage are outlined. The expressive elements are identified arid their functions explored as they apply to the montage image. It is within this section that the photographer's opinions and feelings are expressed.The last section of this thesis is the evaluation and conclusion. In the photographer's opinion this project was a success because the photomontages express the personal concerns of the photographer. Also, these photomontages did stimulate awareness and reevaluation in the audience as reported by members of the audience to the photographer.Department of Art
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Wong, Wilson Heitung. "The cultural politics of foodie criticism in Hong Kong : a case study of foodies on Instagram". HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/704.
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This thesis investigates the cultural politics of taste in contemporary food media of Hong Kong through the lens of foodie stylistics on Instagram. By bearing on the semiotic theory and analysis by Roland Barthes, this research seeks to closely examine the mythmaking of taste in foodie criticism--the food and restaurant review written by foodies on social media platform. The theory will be used to spell out the layered meaning of foodie criticism: a linguistic depiction of food, visual stylistic of writing about taste, tactics of gaining voice of authority by foodie critics and their intention of writing. Considering taste as a cultural and social construct, the present research examines the pivotal role of foodie critics as mythmakers that render and stylize taste on Instagram, which mythologizes the intention of writing and complicates how voice of authority can be accumulated and how monopolized power of food media corporate can be further expanded invisibly. Through semiotic analysis, how taste is represented and informed by the mythmaker linguistically, how food trends are set stylistically to attract and affect the audience, as well as how attraction accumulates the voice of authority and engenders problems of self-branding, commercialization and collusion will become apparent. Finally, the findings of this pilot research of Hong Kong foodies will contribute to the understanding of cultural politics of contemporary food criticism media in the social media era.
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Major, Mary Elizabeth. "War's Visual Discourse| A Content Analysis of Iraq War Imagery". Thesis, Portland State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535957.
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This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%.
This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.
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Josephy, Svea Valeska. "The development of a critical practice in post-apartheid South African photography". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.
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Thesis (MA)--Stellenbosch University, 2001.ENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm.
AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.
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Fouche, Pierre. "The distance between us : strategizing a queer, artistic, personal and social politic". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2137.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.This thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.
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Machado, Katia Regina. "Un regard à double égard sur la misère du monde. Analyse des effets de la forme esthétique des images photographiques de Sebastiao Salgado". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030098.
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L’œuvre photographique de Sebastião Salgado, qui focalise la condition de vie des personnes affectées par la souffrance sociale causée soit par la guerre, soit par l’exploitation et la misère, prime par la qualité de la composition esthétique, mais ses images ne sont pas produites dans le contexte de la photographie d’art. Elles s’inscrivent dans la catégorie de la photographie documentaire et leur finalité discursive est la dénonciation sociale. Une part des spécialistes de l’image et des sciences humaines et sociales estiment que ses images ne peuvent pas servir à un tel propos, car leur caractère artistique déforme la vérité de la réalité représentée. L’autre part, en revanche, considère que c’est justement de la forme esthétique qu’elles tirent leur force de communication sociopolitique. Il s’agit du vieux débat sur le rapport entre esthétique et politique réactualisé par la question contemporaine du rôle sociopolitique des représentations médiatiques de la souffrance sociale. Pour constituer notre corpus analytique nous nous sommes servis d’un échantillon d’articles des spécialistes, publiés dans la Presse, dans lesquels on trouve un discours argumenté pour ou contre l’approche photographique de Salgado. La mise en confrontation des argumentations d’opposants et de partisans a permis non seulement de faire une sorte de mise en épreuve de la pertinence des concepts théoriques évoqués en soutien, mais aussi de mettre en évidence les apriori éthiques, sociologiques et politiques qui sont à la base des jugements qui indiquent si l’on doit considérer l’approche énonciative de Salgado comme une bonne ou mauvaise façon de représenter la misère du mondeThe photographic work of Sebastião Salgado focuses on the living conditions of people affected by social distress resulting from civil wars, exploitation, and misery. The pictures are characterised by the quality of their aesthetic composition but they are not primarily works of art. They are rather documentary pictures that represent a social denunciation of intolerable living conditions. Some social scientists specialised in photo interpretation think that his pictures still exhibit too many characteristics of art work and might therefore deform reality. However, others are convinced that just this aesthetic approach constitute its particular strength in sociopolitical communication. The contrasting views reflect the old debate on the relation between politics and aesthetics recently revived by the discussion on the socio-political role of the media in the presentation of social distress. This thesis is based on a representative sample of articles published in print media in which arguments for and against the photographic approach of Salgado are presented. The analytic comparison of the opposed arguments allows an evaluation of the related theoretical concepts. It also reveals an a priori basis of the related ethics, aesthetics, sociology, and politics indicating whether the denouncing character of Salgado pictures is representing an adequate approach to communicate the misery of the world
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Hess, Linda. "The politics of visibility in a mined landscape: the image as interface". Thesis, 2016. http://hdl.handle.net/10539/19938.
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University of the Witwatersrand
Masters Research Report
History of Art
31 March 2015Landscape representations in Western art have long stood as metaphors for power relations inscribed on the earth, encoding imperial aspirations, national identity, poetic and aesthetic experiences about humankind, nature and the environment. However, contemporary landscape imagery of large-scale industrial, and particularly mining sites, have come to signify, pre-dominantly through the medium of photography, meta-narratives that go beyond the political, economic, and environmental power relations historically endemic to landscape representation. Indeed, I suggest they constitute the formation of a sub-genre within the category of Landscape. Mining activities characterise extensive landscape interventions, often with catastrophic results both above and below ground. Perhaps a mined landscape more than any other, exemplifies not only the interwoven political and economic power relations inscribed upon the land, but also testifies to the underlying pathology of the land. Contemporary landscape studies cut across disciplines and go beyond the apprehension of surface, taking into account the geological as well social histories of land, and thus signal a shift in the aesthetic experience of land, both emotionally and intellectually, and consequently the way in which land is made visible. The visualisation of these land sites through imagery has precipitated an interface of aesthetic experience that simultaneously makes visible the politics symbolically encoded in the landscape itself, and the politics that impact viewership and reception. Nevertheless, accompanying the need to make visible those land sites hugely modified by mineral extraction, from both a historical and current perspective, is an unprecedented urgency that is weighted by a political anxiety over future implications of such land interventions. This anxiety is driven by the spectral nature of mined landscapes. Although monumental in scale, mined landscapes are often ‘not seen’, partly because they exist in restricted zones or are located underground, but often they are rendered invisible through a process of assimilation and naturalisation. A case in point has been the collective presence of mine dumps along Johannesburg’s southern periphery, and which, now in the process of being re-cycled, form the focus of my selected case study, an image by British photographer, Jason Larkin and titled Re-Mining Dump 20 (2012). By seeking to bring sites of mining activity into public consciousness, contemporary representations of mined landscapes also mediate current relations between humankind and the natural environment. As an agent of mediation, I propose that an image of a mined landscape functions as an interface. By situating Larkin’s image within a theoretical framework motivated by Jacques Rancière’s politics of aesthetics and Malcolm Andrews and W.J.T. Mitchell’s landscape theory, I proceed with my investigation in the form of a two-part interrogation: one that places emphasis on theory followed by a practical, creative response to Larkin’s image by way of repeat photography of Dump 20 and its surrounds. To demonstrate the concept of interface, I ‘excavate’ the aesthetic experience of Dump 20 as both sensory apprehension and through Rancière’s lens of emancipated viewership. There is an aesthetic quality of the sublime that appears to pervade visual representations of mined landscapes. Described as industrial sublime, toxic sublime or even apocalyptic sublime, the attention-holding quality these images exercise, through a strategy of aesthetic appeal, contribute to a politics of visibility by subversively implicating the viewer as a member of the human race. Global citizenship overrides national identity in these landscape representations, disrupting a sense of belonging with one of complicit participation in the formation of mined landscapes through reliance on mineral extraction for manufacturing consumer goods. Not only do representations of mined landscapes demand a rethink about aesthetic appreciation of landscape imagery and the endemic political connotations implicated in an understanding of landscape. They actively seek to penetrate surface visibility of land by taking into account the very pathology of land as an on going narrative of human and environmental interaction and life continually in process.
Książki na temat "Photography – political aspects"
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John, Berger, red. Between the eyes: Essays on photography and politics ; introduction by Joh Berger. New York: Aperture, 2003.
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Strauss, David Levi. Between the eyes: Essays on photography and politics. New York: Aperture, 2003.
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ha- Amanah ha-ezraḥit shel ha-tsilum. Tel Aviv: Resling, 2007.
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Patricia, Holland, Spence Jo, Watney Simon i Photography Workshop, red. Photography / politics. London: Comedia, 1986.
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Sviblova, Olga. Vizualʹnoe oruzhie: Sovetskiĭ fotomontazh, 1917-1953. Moskva: Mulʹtimediĭnyĭ kompleks aktualʹnykh iskusstv, 2006.
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1942-, Coventry Virginia, red. The Critical distance: Work with photography, politics, writing. Sydney, NSW: Hale & Iremonger, 1986.
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English, Donald E. Political uses of photography in the Third French Republic, 1871-1914. Ann Arbor: UMI Books in Demand, 1999.
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Patricia, Holland, Spence Jo i Watney Simon, red. Photography/politics--two. London: Comedia Pub. Group, 1986.
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Alessandra, Mauro, red. My brother's keeper: Documentary photographers and human rights. Roma: Contrasto, 2007.
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King, David. The commissar vanishes: The falsification of photographs and art in Stalin's Russia. New York: Metropolitan Books, 1997.
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Mazzanti, Anna. "Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision". W Springer Series in Design and Innovation, 569–83. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-49811-4_54.
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AbstractOperazione Arcevia (OA) is an urban settlement project, born for the purpose of the social, economic, and touristic regeneration of a marginal area in the Marchigiane hills, characterized by its postwar exodus. Conceived between 1972 and 1974 on the initiative of the businessman Italo Bartoletti, like every newly constituted city it was designed with a political and cultural identity by the architect Ico Parisi in collaboration with two renowned critics (Cripolti and Restany), a psychologist, and a large number of artists (Arman, César, Ceroli, Soto, Staccioli, among others). OA remained in its germinal phase, and this was indeed its final result, the fruit of participative work presented at several exhibition events: Venice 1976; Rome 1979). In this ideal city imagined by the erudite group of operators, along with its utopian aspects, there are also practical ones and design hypotheses that can still inspire and provide food for thought: the close collaboration between planners and artists; anti-monumental intentions for art with a social nature and characterized by shared practice; built-up urban relations and the landscape dimension; the coexistence between productive and residential communities and temporary communities, both touristic, in terms of hospitality, and as a secular space in which to take refuge. Cooperating together with Parisi and the critics were 33 artists who together created tavole progettuali (design boards) that combined design, technical design, photographic images, and collages, i.e. fully-fledged works of art and creativity.
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Jenkins, Philip. "Pilgrims from the Vacuum 1890– 1920". W Dream Catchers, 65–91. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195161151.003.0004.
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Abstract Americans read about the exotic Indian cultures of the West and Southwest, and they could see photographs, but critically, from the end of the nineteenth century, they were also likely to travel to these regions themselves. Tourism and travel fostered an enthusiastic interest in Indian life, and focused on religious, ritual, and ceremonial aspects of those cultures. Since travelers were most likely to encounter the elaborate cultures of the Southwest, those glamorous rituals came to symbolize Indian religion for the white audience. Seeing southwestern religion as a microcosm of the Native experience as a whole was multiply misleading, but the long-term political effects were beneficial. The more white travelers knew and enjoyed their contacts with Pueblos or Navajos, the less willing they would be to see those customs and rituals suppressed.By the era of the First World War, Indian religion was attracting attentionthat went beyond mere sympathy for the downtrodden. Significant numbers of influential Americans were prepared to defend Indian spirituality, and even, on occasion, to assert its superiority to white ways.
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İner, Gülcan. "Metropolis: From Dystopia To Reality". W Architecture in Cinema, 268–75. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010033.
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Having begun with consecutive photographic frames depicting real life, the journey of the art of cinema has always left a permanent emotional impact on the audience with visual presentation techniques, surreal plot lines, and spatial organization. Cinema, which is also in connection with other branches of art, also has a special connection with architecture in terms of the fictional spaces that the aspects of the plot occur in. This connection has always kept cinema in a dynamic advancement. The cinema film set that is formed by taking inspiration from a city and the new world order that is realized by taking inspiration from this film set continuously supports each other. Notions of time and space are among the important components of these two branches of art. Architectural structures and cinema films that can challenge years and remain standing have always been constructed with a planning approach that is always ahead of its time. Thus, their effects are still debated even after many years.<br><br>In 1927, when it was released, having had a spatial organization that was ahead of its time, Metropolis still remains a source of inspiration for architecture, although it was designed based on a real city in the world. This film, in which we can see the effect of architecture on the cinema clearly, is also among the films that have to be seen in terms of architecture. The film has inspired many artworks around the world with its spatial organization that interpreted the different art trends dominating the time the film was shot.<br><br>In this study, in the movie Metropolis, which presents a cross-section from the future, the architectural elements that Fritz Lang, who studied architecture, highlighted with his imagination, and the effect of space on the film are discussed. The effects of art movements and political developments on the world of architecture and cinema will be examined.<br><br><br>
Streszczenia konferencji na temat "Photography – political aspects"
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Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.
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The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
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Hill, Rodrigo, Marcos Steagall i David van Vliet. "Augmenting Community Narratives: An Exploration of Lens-based Image and Publication Design". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.84.
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This presentation proposal advances a pedagogical case study that focuses on innovative ways of promoting visual literacy for undergraduate students through lens-based image-making and digital technologies. The curriculum was designed to be delivered throughout an academic semester at Auckland University of Technology South Campus, Manukau City, Aotearoa New Zealand. The content is formatted for first-year students of the Diploma in Arts endorsed in Communication Design. The Diploma in Arts is appealing to students who may be seeking a shorter design qualification. In addition, the programme provides for students who have not met or have narrowly missed University Entrance (UE) criteria. The presentation focuses on the structure and contents of the pedagogical experience where lecturers and students are connected in the design studio through agency and literacy rather than just observing pedagogical prescriptions. In this active environment, the hidden curriculum that deals with the participant's cultural background and natural epistemologies is valued and validated. In creating the engagement for visual literacy, the brief requires students to consider aspects of community, taking the role of a storyteller equipped with skills to create visual content that is meaningful and actual. The course is divided into two parallel design studio approaches: one that deals with visual literacy through the photographic image and practice; and the other is concerned with aspects of the nature of the media, augmented reality and image dissemination in digital platforms. The first area focused on visual literacy through photographic practice, using the politics of photographic language and representation, employing portraiture analysis and image creation. This approach encompasses the conceptual aspects associated with photographic images and the technical aspects of lens-based image-making. The second area focused on understanding digital media, the application of tools and how to take advantage of the interactive environment to promote awareness and reflect change in the community. This part of the brief intended to create an understanding of the issues associated with online environments, providing students with skills to operate creatively and fluidly in response to the fast-paced nature of online image-sharing platforms. Within this context, techniques of digital image construction and manipulation were investigated in the light of industry applications and best practice workflows. These learning areas were underpinned by an online blog where students actively recorded their design process, tests, and contextual influences that impacted their design practice. The studio environment fostered an inclusive and participatory form of teaching and learning and employed students' smartphones as an accessible tool to produce and understand images. The project contributes to knowledge about the design studio through a framework for Visual literacy and media education, where students learn principles of photography practice and digital technologies. It contributes to reflections about the use of mobile phone technologies as a common entry way apparatus to visual literacy and imagery generator.
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Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE". W NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.
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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.