Literatura científica selecionada sobre o tema "Photography – political aspects"
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Artigos de revistas sobre o assunto "Photography – political aspects"
Haddour, Azzedine. "Bread and Wine: Bourdieu's Photography of Colonial Algeria". Sociological Review 57, n.º 3 (agosto de 2009): 385–405. http://dx.doi.org/10.1111/j.1467-954x.2009.01846.x.
Texto completo da fonteFox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan". Media, War & Conflict 11, n.º 3 (13 de julho de 2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.
Texto completo da fonteMoore, David. "The Lisa and John Slideshow (2017): A Play about Photography". Arts 12, n.º 3 (26 de maio de 2023): 109. http://dx.doi.org/10.3390/arts12030109.
Texto completo da fonteRobbins, 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, n.º 3 (agosto de 2009): 428–47. http://dx.doi.org/10.1111/j.1467-954x.2009.01848.x.
Texto completo da fonteKelly, Marjorie, e Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf". Hawwa 19, n.º 1 (22 de fevereiro de 2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.
Texto completo da fonteStępniak, 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, n.º 4 (30 de dezembro de 2023): 92–109. http://dx.doi.org/10.33077/uw.24511617.sm.2023.4.782.
Texto completo da fontePtiček, Petra, Ivana Žganjar, Miroslav Mikota e Mile Matijević. "Technical Aspects of Web Photography as a Medium of Tourism Development". Tehnički glasnik 15, n.º 4 (1 de novembro de 2021): 467–74. http://dx.doi.org/10.31803/tg-20210506103212.
Texto completo da fonteTopolska, Anna. "Shaping Memory through Visuality". Journal of Educational Media, Memory, and Society 15, n.º 1 (1 de março de 2023): 62–79. http://dx.doi.org/10.3167/jemms.2023.150104.
Texto completo da fonteAntola, Alessandra. "Ghitta Carell and Italian studio photography in the 1930s". Modern Italy 16, n.º 3 (agosto de 2011): 249–73. http://dx.doi.org/10.1080/13532944.2011.586499.
Texto completo da fonteSweetman, Paul. "Revealing Habitus, Illuminating Practice: Bourdieu, Photography and Visual Methods". Sociological Review 57, n.º 3 (agosto de 2009): 491–511. http://dx.doi.org/10.1111/j.1467-954x.2009.01851.x.
Texto completo da fonteTeses / dissertações sobre o assunto "Photography – political aspects"
譚美兒 e Mei-yee Eve Tam. "Orientalism and photography". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B4413938X.
Texto completo da fonteAgbo, George Emeka. "Photography, facebook and virtualisation of resistance in Nigeria". University of the Western Cape, 2016. http://hdl.handle.net/11394/5465.
Texto completo da fonteNigerian 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.
Donelson, Sarah L. "Cries of agony : a work in photographic montage". Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
Texto completo da fonteDepartment of Art
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.
Texto completo da fonteMajor, 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.
Texto completo da fonteThis 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.
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.
Texto completo da fonteENGLISH 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.
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.
Texto completo da fonteThis 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.
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.
Texto completo da fonteThe 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
Hess, Linda. "The politics of visibility in a mined landscape: the image as interface". Thesis, 2016. http://hdl.handle.net/10539/19938.
Texto completo da fonteLandscape 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.
Livros sobre o assunto "Photography – political aspects"
John, Berger, ed. Between the eyes: Essays on photography and politics ; introduction by Joh Berger. New York: Aperture, 2003.
Encontre o texto completo da fonteStrauss, David Levi. Between the eyes: Essays on photography and politics. New York: Aperture, 2003.
Encontre o texto completo da fonteha- Amanah ha-ezraḥit shel ha-tsilum. Tel Aviv: Resling, 2007.
Encontre o texto completo da fontePatricia, Holland, Spence Jo, Watney Simon e Photography Workshop, eds. Photography / politics. London: Comedia, 1986.
Encontre o texto completo da fonteSviblova, Olga. Vizualʹnoe oruzhie: Sovetskiĭ fotomontazh, 1917-1953. Moskva: Mulʹtimediĭnyĭ kompleks aktualʹnykh iskusstv, 2006.
Encontre o texto completo da fonte1942-, Coventry Virginia, ed. The Critical distance: Work with photography, politics, writing. Sydney, NSW: Hale & Iremonger, 1986.
Encontre o texto completo da fonteEnglish, Donald E. Political uses of photography in the Third French Republic, 1871-1914. Ann Arbor: UMI Books in Demand, 1999.
Encontre o texto completo da fontePatricia, Holland, Spence Jo e Watney Simon, eds. Photography/politics--two. London: Comedia Pub. Group, 1986.
Encontre o texto completo da fonteAlessandra, Mauro, ed. My brother's keeper: Documentary photographers and human rights. Roma: Contrasto, 2007.
Encontre o texto completo da fonteKing, David. The commissar vanishes: The falsification of photographs and art in Stalin's Russia. New York: Metropolitan Books, 1997.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Photography – political aspects"
Mazzanti, Anna. "Operazione Arcevia. Existential Community. The Reality of the Experience and the Utopia of the Vision". In 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.
Texto completo da fonteJenkins, Philip. "Pilgrims from the Vacuum 1890– 1920". In Dream Catchers, 65–91. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195161151.003.0004.
Texto completo da fonteİner, Gülcan. "Metropolis: From Dystopia To Reality". In Architecture in Cinema, 268–75. BENTHAM SCIENCE PUBLISHERS, 2024. http://dx.doi.org/10.2174/9789815223316124010033.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Photography – political aspects"
Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.
Texto completo da fonteHill, Rodrigo, Marcos Steagall e David van Vliet. "Augmenting Community Narratives: An Exploration of Lens-based Image and Publication Design". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.84.
Texto completo da fonteMeškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE". In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.
Texto completo da fonte