Дисертації з теми "Photography Australia"
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Boddy, Adrian. "Max Dupain and the photography of Australian architecture." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/36005/25/__qut.edu.au_Documents_StaffHome_StaffGroupR%24_rogersjm_Desktop_36005_Vol1_Digitised%20Thesis%20Vol%201%20Compressed%20%20Boddy.pdf.
Повний текст джерелаFernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.
Повний текст джерелаWatson, David Rowan Scott. "Precious Little: Traces of Australian Place and Belonging." University of Sydney, 2005. http://hdl.handle.net/2123/1098.
Повний текст джерелаThe Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
Ballard, Bernadette Ann. "The Seeing machine : photography and the visualisation of culture in Australia, 1890-1930 /." Connect to thesis, 2003. http://eprints.unimelb.edu.au/archive/00000833.
Повний текст джерелаGaskins, William G. "On the relationship between photography and painting in Australia, 1839-1900." Thesis, Gaskins, William G. (1991) On the relationship between photography and painting in Australia, 1839-1900. PhD thesis, Murdoch University, 1991. https://researchrepository.murdoch.edu.au/id/eprint/52768/.
Повний текст джерелаDeas, Megan Elizabeth. "Imagining Australia: Community, participation and the 'Australian Way of Life' in the photography of the Australian Women's Weekly, 1945-1956." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/148424.
Повний текст джерелаQuartermaine, P. N. "'Speaking to the eye' : Painting, photography and the popular illustrated press in Australia, 1850-1900." Thesis, University of Exeter, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379670.
Повний текст джерелаPrice, Alun John. "Cultures Of Practice Within Design: An Exploration Of The Differences And Similarities Between Photography And Painting As Representational Practices." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1451.
Повний текст джерелаJolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
Повний текст джерелаGigler, Elisabeth. "Indigenous Australian art photography an intercultural perspective." Aachen Shaker, 2007. http://d-nb.info/990542270/04.
Повний текст джерелаGray, Michael. "New Australian plants and animals. An exhibition - and - Physiology, phenomenology and photography: Picturing the indeterminate within an Australian art practice. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1923.
Повний текст джерелаMcGrath, Pamela Faye. "Hard looking : a historical ethnography of photographic encounters with Aboriginal families in the Ngaanyatjarra lands, Western Australia." Phd thesis, Canberra, ACT : The Australian National University, 2010. http://hdl.handle.net/1885/10977.
Повний текст джерелаForscher, Helene. "Animals in the landscape : an analysis of the role of the animal image in representations of identity in selected Australian feature films from 1971 to 2001 /." Gold Coast, Queensland : Bond University, 2007. http://epublications.bond.edu.au/theses/forscher.
Повний текст джерела"A dissertation submitted in fulfillment of the requirements of the degree of Doctor of Philosophy"-- t.p. Bibliography: leaves 266-281. Also available via the World Wide Web.
Saris, Katja. "Application of an appearance-based intervention to improve sun protection outcomes of outdoor workers in Queensland, Australia." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53265/3/Katja_Saris_thesis.pdf.
Повний текст джерелаFries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art." Connect to full text, 2008. http://hdl.handle.net/2123/5709.
Повний текст джерелаTitle from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
Smith, Matthew Stuart. "The relationship between Australians and the overseas graves of the First World War." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/38655/1/Matthew_Smith_Thesis.pdf.
Повний текст джерелаJohnson, Maggie. "Report." Thesis, 2001. http://hdl.handle.net/1885/155959.
Повний текст джерелаLydon, Jane. "Regarding Coranderrk : photography at Coranderrk Aboriginal Station, Victoria." Phd thesis, 2000. http://hdl.handle.net/1885/147197.
Повний текст джерелаOgilvie, Charlene Sarah. "The Aboriginal movement and Australian photography." Phd thesis, 2007. http://hdl.handle.net/1885/149690.
Повний текст джерелаChen, Nancy Hui-yun. "Report." Thesis, 2001. http://hdl.handle.net/1885/156145.
Повний текст джерелаHsieh, Galen Chien-Chang. "Report from Photomedia Workshop." Master's thesis, 2002. http://hdl.handle.net/1885/155526.
Повний текст джерелаWasikowska, Marzene. "Report." Master's thesis, 2000. http://hdl.handle.net/1885/156291.
Повний текст джерелаLohse, Hardy. "Can introducing collaboration and trade and exchange into the photographic encounter respond to the inherent potential for exploitation, abuse and humiliation in traditional documentary photography? And, will doing this still maintain documentary photography's ability to capture the reality of living in towns in decline in Australia?" Phd thesis, 2017. http://hdl.handle.net/1885/133593.
Повний текст джерелаFiveash, Tina Dale Media Arts College of Fine Arts UNSW. "The enigma of appearances: photography of the third dimension." 2007. http://handle.unsw.edu.au/1959.4/44259.
Повний текст джерелаMagee, Karen. "Captain Sweet’s colonial imagination: the ideals of modernity in South Australian views photography 1866 - 1886." Thesis, 2015. http://hdl.handle.net/2440/92551.
Повний текст джерелаThesis (Ph.D.) -- University of Adelaide, School of History and Politics, 2015
Marshall, Victoria. "Mapping, modelling and remote sensing buffel grass (Cenchrus ciliaris) infestations in arid Australia." Thesis, 2013. http://hdl.handle.net/2440/84131.
Повний текст джерелаThesis (Ph.D.) -- University of Adelaide, School of Earth and Environmental Sciences, 2013
Gauld, Robin D. "Photography in higher education and industry in Australia: a mixed methods study to explain the alignment between the sectors." Thesis, 2013. https://researchonline.jcu.edu.au/27238/1/27238-gauld-2013-thesis.pdf.
Повний текст джерелаLien, Chia-Chi. "Report." Master's thesis, 2003. http://hdl.handle.net/1885/156414.
Повний текст джерелаSeares, Margot. "Report." Thesis, 2003. http://hdl.handle.net/1885/155859.
Повний текст джерелаHammami, Thouraya. "Report." Master's thesis, 2004. http://hdl.handle.net/1885/155873.
Повний текст джерелаWills, David. "Studio report." Thesis, 2003. http://hdl.handle.net/1885/156412.
Повний текст джерелаHewitt, Lauren. "Studio report." Thesis, 2003. http://hdl.handle.net/1885/156365.
Повний текст джерелаShibata, Chikako. "Report." Thesis, 2002. http://hdl.handle.net/1885/156398.
Повний текст джерелаDepairon, Philippe. "«Nous les hibakushas de Tchernobyl» : la pratique photographique de Kazuma Obara en régime numérique." Thesis, 2020. http://hdl.handle.net/1866/24295.
Повний текст джерелаThe ‘triple disaster’ that occurred on March 11, 2011 in the Tōhoku region of Japan coincides with the emergence of new digital technologies which allowed an almost immediate online dissemination of photographs of the event after they have been taken. For many professional artists, the challenge is then to give an adequate visual shape to the consequences of the disaster without contributing further to an already massive number of images of the catastrophe. This thesis takes a series made in Chernobyl by photographer Kazuma Obara, Exposure (2015 – 2016) to examine some strategies undertaken by various Japanese artists to meet these imperatives. From the outset, this dissertation reconstructs the visual culture linked to the Chernobyl disaster, from its beginning (1986) to the official opening of the site to tourists (2011). The photographic productions of both amateurs and professionals who have visited the place are examined to better understand the position Obara takes in the visual field of Chernobyl. The theory of bricolage developed by Claude Lévi-Strauss, according to which an artistic project is developed by its creators with the materials they already possess, sheds light on the mutual relationship established between Obara and the constituent parts of Exposure. The second chapter examines the fragmentary aspect of the series and the reading possibilities this mode of representation entails. Walter Benjamin's theory of montage suggests that the bringing together of various fragments helps to refine and renew the history of Chernobyl as it is currently shown and narrated. Ultimately, the third chapter examines how Obara makes inalienable the historical component of his images. Exposure is then analyzed from the angle of archaeological theories of spolia, which demonstrate how Obara makes the Chernobyl disaster contemporary anew as much as it reproduces its historical properties and specificities.
Taylor, C. J. "Collapsible Time: Contesting Reality, Narrative And History In South Australian Liminal Hinterlands." Phd thesis, 2017. http://hdl.handle.net/1885/131791.
Повний текст джерелаMellor, Danie. "Forming identities." Phd thesis, 2004. http://hdl.handle.net/1885/151477.
Повний текст джерелаLofts, Pamela. "A necessary nomadism : rethinking a place in the sun." Master's thesis, 2007. http://hdl.handle.net/1885/147113.
Повний текст джерелаGreenhill, Fiona. "The stutter of recognition: re-visioning the baroque in contemporary painting." Thesis, 2013. http://hdl.handle.net/1959.13/1039658.
Повний текст джерелаThe major theme that runs throughout my work has always been the question of representation; where to draw the line between ‘real life’ and ‘art’, illusion and abstraction, transcription and composition. The line between illusion and truth, or to put it another way, “between the ontological and the epistemological – between ‘things as they are’ and ‘things as they seem”, was also a concern that preoccupied the seventeenth century. This research challenges the assumption that the ancients are fixed firmly and stably in a past in which the moderns are the victors and the ancients the losers. This research reconsiders the contribution the Baroque has made to Western thought, but in particular, to explain its ongoing appeal and its continuing relevance to painting in the late twentieth / early twenty-first centuries. And more importantly for the purposes of my own research as a painter in the digital age, is to pose the question: how to formulate a Neo-Baroque aesthetic adequate to addressing the problems and uncertainties specific to painting in the twenty-first century?