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1
Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.
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2
Tsao, Kai-Wen Evangeline. "Photographing desire : women exploring sexuality through auto-photography." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/11536/.
Повний текст джерелаАнотація:
Feminist debates since the second-wave movement frequently construct ‘women’s sexual liberation’ and resistance to patriarchal heteronormativity as oppositions. This framework oversimplifies the interwoven relationship between personal and cultural constructions of women’s sexuality; furthermore, it risks overlooking individuals’ lived experiences and emotions. This research investigates the multiplicity and complexity of ‘women’s sexual desire’ by engaging with feminist symbolic interactionism and ideas from queer theories. How does a woman negotiate her personal ‘web of desire’ within social conventions? The project adopts auto-photography – a participatory method incorporating self-photography, journaling and interviews – to engage 18 UK women residents from seven countries in the co-creation of knowledge. This method encourages women to actively develop ideas; thus, it has an activist potential to reveal underrepresented meanings of women’s sexuality. In addition, the methodology generates rich textual and visual materials that demonstrate the depth of participants’ self-analysis and reflexivity. Multiple analytical methods (thematic analysis, discourse and narrative analysis, social semiotics) are deployed to read the women’s narratives critically, as well as representing them as valid. Desire is fluid, and women explore its meanings through metaphors and symbols. The women’s understanding of desire is negotiated within four cultural sites – Christianity, ethnicity, popular culture and feminist ideas – through which they might adopt, reject or struggle with dominant sexual scripts. Their sexual feelings are embodied experiences that can be generated through four preconditions: a positive perception of body image, sensations, fantasy and intimate relationships. The diverse ways in which participants visualise their sexuality reaffirm that each woman’s desire can be understood as a web interwoven by personal identities, social interactions and cultural scenarios in a continuous process. In particular, the extensive references to popular culture suggest that its sexual scripts are influential in constructing women’s desire.
3
Skidmore, Colleen Marie. "Women in photography at the Notman Studio, Montreal, 1856-1881." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq46921.pdf.
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4
Bryant, Susan C. "The Beautiful Corpse: Violence against Women in Fashion Photography." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/158.
Повний текст джерелаАнотація:
My senior thesis deals with contemporary depictions of sexualized violence against women in fashion photography. Images of bloodied, bruised, and dead-looking models have proliferated in fashion magazine editorials and advertisements since the 1970s and I want to explore why sexualized violence is seen as sexy and compelling advertising, in light of the fact that domestic violence is the greatest cause of injury to women in America. I produced my own fashion photographs in locations of actual female homicides in Los Angeles County, particularly those nearest to Claremont, with the use of The Los Angeles Times online homicide database, which pinpoints every homicide reported in L.A. County since 2007. We live in a world plagued by violence and by creating my own violent, fashion photographs in actual homicide locations, I hoped to jar the viewer out of neutrality and expose violent advertisements and editorials for what they are: objectifying, exploitative, and perverse expressions of hostility against women. The images abuse and demean commercial speech privileges and glamorize and trivialize horrific, actual experiences of violence suffered by countless women.
5
Crinall, Karen Maree, University of Western Sydney, and Critical Social Sciences Research Group. "Imag(in)ing women as homeless : re/tracing socially concerned photography." THESIS_XXX_CSSRG_Crinall_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/453.
Повний текст джерелаАнотація:
This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to generate truth/power effects.Thus, the thesis re/traces the representation of homeless women in a range of visual texts and ask how this construct has been discursively produced and deployed. In order to explore how socially concerned photography has contributed to, and made use of the idea of homeless, or destitute woman, examples are drawn from a range of photographic genres. These include traditional social documentary, public collections of photographs, photojournalism and publicity materials.The selected images, the circumstances out of which they emerge, and those in which they are read, are interrogated along, and with the consideration of the interconnections between axes of gender, genre, race, class and power. The inquiry does not aim to establish a unitary source, or coherent trajectory of the visual representation of the homeless woman, because origins, particularly of ideas, are always contestable. Rather, a primary aim is to expand the field of possibilities for the visual portrayal of women's experiences of homelessness.Doctor of Philosophy (PhD)
6
Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/453.
Повний текст джерелаАнотація:
This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to generate truth/power effects.Thus, the thesis re/traces the representation of homeless women in a range of visual texts and ask how this construct has been discursively produced and deployed. In order to explore how socially concerned photography has contributed to, and made use of the idea of homeless, or destitute woman, examples are drawn from a range of photographic genres. These include traditional social documentary, public collections of photographs, photojournalism and publicity materials.The selected images, the circumstances out of which they emerge, and those in which they are read, are interrogated along, and with the consideration of the interconnections between axes of gender, genre, race, class and power. The inquiry does not aim to establish a unitary source, or coherent trajectory of the visual representation of the homeless woman, because origins, particularly of ideas, are always contestable. Rather, a primary aim is to expand the field of possibilities for the visual portrayal of women's experiences of homelessness.
7
Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041103.175604/index.html.
Повний текст джерелаАнотація:
Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis submitted for the degree of Doctor of Philosophy, Critical Social Sciences Research Group, University of Western Sydney" Bibliography : leaves 312-335.
8
Spenny, Anne M. "Portrait of a young woman /." Online version of thesis, 1989. http://hdl.handle.net/1850/11529.
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9
Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.
Повний текст джерелаАнотація:
This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through their sequenced, fragmentary poetics. I argue that formal interstices of these composite texts, like that of serialized photographic practice, are raised as signposts to the limits of the eye and of visual and discursive objectification itself. Most provocatively, I interpret their gaps and openings as textual sites in which the dominant socio-political order is negotiated and even circumvented. I map the sequenced tissue of modernist narration onto the repeated disappearances and appearances of female bodies that are, like the narratives they populate, constructed as aggregates or assemblages. In so doing, I enrol what I call the woman-in-series within a host of new theoretical figurations of female subjectivity emerging within feminist scholarship that seeks to exceed the hostile relationships between the camera and the female subject that have dominated discussions of photography and cinema. As such, this dissertation works to destabilize gendered and racialized oppositions of power and vulnerability as they relate to encounters between subjects and objects in the visual realm. The gap or interval in the composite visions of American modernism signifies both as a mark of trauma, the wounding of objectifying representation, and as a means for evading or defending against such trauma. The woman-in-series thereby stages the insurrectionary potential of the in/visible subject.
10
Kuo, Hsiu-Li. "The solitary notations." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/182.
Повний текст джерелаАнотація:
This study investigates imagery from twentieth century art presenting the fluctuation of the human psyche, and historical western imagery revealing the mortal condition of human corporeality. The exploration of the interdisciplinary historical aspect of Surrealism (Rubin: 1968, Alexandrian: 1970, Bigsby: 1972), womens art (Orenstein: 1973, Chadwick: 1985), anatomical illustration (Roberts: 1992, Cazort: 1996), and death-related photography (Sante: 1992, Burns: 1990, 1998, OConnor: 1999) is an attempt to attain a coherent sense of being a human in the natural world. The Solitary Notations explores the concept of unveiling what has been concealed. Examining what is hidden underneath the visible in both a cultural and metaphorical sense is investigated in both theoretical and creative research. This study includes Surrealist art that explored the unconscious realm of human personality. It also selects work of women artists influenced by Surrealism, such as Frida Kahlo, Remedios Varo and Claude Cahun. The background to the representation of the female body in a dominantly male culture is researched through historical analysis, revealing womans unique psychic state and knowledge. The anatomists such as Andreas Vesalius, Bernhard Siegfried Albinus, and William Hunter explored human bodies to know the intricate structures underneath skin. Death-related photography from the mid nineteenth century to the twentieth century revealed the unfathomable nature of human existence in documentary images that extended scientific and psychological approaches to the body. My creative work has a focus on the imagery that evokes the message of decay, solitude, and metamorphosis. Ruminating about such imagery and creative process is an attempt to express artistically how human self-affirmation can be achieved, and how I can gain an identity of the solitude of self through my imaginative photography, tableaux and assemblage.
11
Newhouse, Kathryn D. "Women's body image, patriarchy, and photography a pictorial content analysis of National geographic's representation of women /." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4498.
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12
Henninger, Katherine. "Ordering the façade : photography and the politics of representation in contemporary Southern women's fiction /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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13
Turok, Karina. "Social skin : initiation through the bodily transformation of four South African women : an exploration using documentary photography." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/17244.
Повний текст джерелаАнотація:
Bibliography: p. 92-93.My work questions social and cultural constructs of 'normality' and, by focusing on the practices of marginalised communities, questions dominant cultural conventions of female identity, beauty and sexuality. Within visual media, if the private or unsaid of female experience is said, it is seen as subversive. By focusing on four female initiations, my intention is to develop a specific yet complex comparison of different types of initiations. Embedded within the communities I have photographed are unique perceptions of beauty, each of which differs from mainstream notions. My intention is not to exoticise any particular community, but to explore some sub-cultures of female youth in South Africa, and to unfold how these women position themselves in post-Apartheid South Africa. An important component of the work is the relationship of the subject to the documentary process. I hope both to raise questions and also provide some answers concerning how the means of signification functions for the subjects. As the photographer of their transformation process, I am positioned as an outsider in their lives. As a means of acknowledging this, I include a series of photographs taken or directed by the women themselves, alongside my own. In doing so, my intention is to create a visual dialogue with the subjects, effectively offering them the opportunity to reply to my images with their own. This is not meant as a patronising gesture of political correctness, but as a means of attaining a more complete narrative while at the same time exploring complexities inherent in the play between 'inside' and 'outside' perspectives. My editing of their self-portraits positions me as a curator in this facet of the project.
14
Richardson, Cynthia Watkins. "Picturing Nature: Education, Ornithology and Photography in the Life of Cordelia Stanwood: 1865-1958." Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/RichardsonCW2002.pdf.
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15
Grenley, Devin. "Women’s Empowerment Through The Erotic." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/292.
Повний текст джерелаАнотація:
First Semester:
My thesis project is about showing women’s empowerment through their sexuality and comfort within their bodies own bodies. In our society women’s eroticism is seen as taboo and women are taught to turn away from the exploration of the erotic as a source of power within themselves. The erotic is often confused and misunderstood, it is an emotion and sense of empowerment that has been named by men and used against women. It’s now difficult to recognize that the erotic can even have a sense of empowerment for women, because strong women have been taught through our society to be viewed as dangerous. As Audre Lorde, a feminist writer states, “The erotic is a resource within each of us that lies in a deeply female and spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling. In order to perpetuate itself, every oppression must corrupt or distort those various sources of power within the culture of the oppressed that can provide energy for change. For women, this has meant a suppression of the erotic as a considered source of power and information within our lives” (Lorde). A woman’s strength comes from her sexuality. Once women begin to believe in this concept, they will begin to require this deep powerful sensation from all aspects of their lives and will not settle for anything less. Women should embrace their sexuality and use it as a sense of strength, instead of falsely believing that they can only be strong by suppressing this eroticism. My project is based on a collaborative experience with the models about what their sexuality means to them, and how they can show this through a camera. These photographs are meant to be raw and real; they are representations of real women who have chosen to show the viewers their own sexuality in the way in which they see best fits their sexual personality and comfort with their own bodies. The writings from the models on the back of the photographs show their own struggles with their sexuality. It may make the viewers feel uncomfortable, but this is the point. We are working towards being able to live in a society where women can be sexual if they choose to be. This is still a working progress, and having to view photographs that make one uncomfortable, may be the first step in change.
Second Semester:
Visual Poetic Abstractions: A Close Photographic Rendering of The Female Body:
My personal thesis project shifted after first semester ended. Second semester I decided to continue the question of the body, but step away from the cultural views and instead start to dissect the body in it’s natural form. The project is a close examination of the formalist aspects of the body, including a self-evaluation of what the body means to me. This project resulted in a series of close-up photographs that will help the viewer in seeing portions of the body in ways they have not before. Some photographs will even be unrecognizable as to what part of the body the photograph is representing. This is important because it leads the viewer to examine each photograph for what the beauty of the photo entails, and not for their previous cultural understandings of body parts prior to viewing. The idea behind the black and white photographs is so the viewer again dissects the photograph without the context of color – for example skin no longer can be recognized as skin when the color context is taken away from these photographs. Within this project, I have paid specific detail to the poetic formalist view of the body, dissecting different body parts to create awe and wonderment. The photographs are an anatomical view of the body in its most raw and poetic form.
16
Adair, Vivyan C. "From "good ma" to "welfare queen" : a "genealogy" of the poor woman in 20th century American literature, photography and culture /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9511.
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17
Kowalski, Shelley. "Fading light : the case of Doris Ulmann /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9977907.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 232-242). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9977907.
18
Smith, Ruth Marie. "Young Somali Women and Narrative Participatory Photography: Interrupting Fixed Identities through Dumarka Soomaaliyeed Voices Unveiled." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406883242.
Повний текст джерела
19
Strait, Laura. "Notions of Progress: The Framing of Women in the Arab Spring." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18494.
Повний текст джерелаАнотація:
The Arab Spring marked a new age of international political participation and support, facilitated by the wide circulation of imagery via social and mass media. Many in the West found themselves in ideological agreement with the political efforts of the protests, upholding the U.S. rhetorical tenets of democracy and freedom of speech. The visual framing of the Arab Spring in U.S. news media played a crucial role in forging this ideological consensus. My thesis focuses specifically on the visual framing of women in the Egyptian uprising by exploring the Western news portrayal of the presence of women in the Egyptian political sphere. In order to ground my assessment of Western perceptions, I conduct a content analysis of coverage of the Egyptian uprising protests from Getty and AP photography databases. My analysis is also supported and influenced by a rigorous theoretical foundation in framing theory, Orientalism, and postcolonial feminist theory.
20
dos, Anjos Afonso Manoela. "Language and place in the life of Brazilian women in London : writing life narratives through art practice." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12000/.
Повний текст джерелаАнотація:
Studies on Brazilians living in Britain show that, along with loneliness, unemployment and cost of living, the lack of proficiency in English is a key problem. However, there is little qualitative information about how the host language affects their daily lives. This interdisciplinary practice-based research asks how an art practice activated by experiences of displacement and dislocation in language can become a place of enunciation for decolonial selves. To this end, this research includes not only individual practices, but also collective activities carried out with a group of Brazilian women living in London, as a research focus. The endeavour to deal with English language has engendered writing processes in my visual work, which became a place for experimenting bilingual and fragmentary voices against the initial muteness in which I found myself on arrival in London. Using photography, printmaking, drawing, postcards, and artist’s books I have explored life-writing genres of diary, language memoir, and correspondence to raise an immigrant consciousness, explore accented voices and create practices for writing life individually and collectively. Assembling words and turning their meanings became strategies for expanding limited vocabularies. Once an impassable obstacle, the host language was transformed into a territory for exploring ways to know stories about language and write life narratives through art practice. This research is informed by humanist and feminist geographical approaches to space and place, postcolonial life writing, border thinking and a context of practice ranging from transnational art, accented cinema, visual poetry, conceptual art, and socially engaged art. It provides insights about English language in the lives of Brazilian women in London and offers a view on a practice in visual arts as place of enunciation for decolonial selves.
21
Fatehrad, Azadeh. "Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran." Thesis, Royal College of Art, 2015. http://researchonline.rca.ac.uk/1784/.
Повний текст джерелаАнотація:
In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.
22
Carotenuto, Gianna Michele. "Domesticating the harem reconsidering the zenana and representations of elite Indian women in Colonial painting and photography of India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=2024771361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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23
Stent, Sabina Daniela. "Women Surrealists : sexuality, fetish, femininity and female Surrealism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3718/.
Повний текст джерелаАнотація:
The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
24
George, Kay. "Evolving patterns of identity: a visual response to observations of Cook Islands' women and their adornment." AUT University, 2010. http://hdl.handle.net/10292/915.
Повний текст джерелаАнотація:
This multimedia visual arts project investigates, from a personal perspective, changes in the context of Cook Islands’ women’s adornment. In a modern world, changes in adornment have become disconnected from cultural traditions and so this study explores how over time evolving patterns of adornment are employed by women to identify their place in society. Observations have been drawn from the developing relationship between the researcher and the women in Rarotonga, the Cook Islands’ community where this project took place. These observations are documented explored and articulated primarily through the medium of photography, and principally by way of the snapshot and the portrait. This examination of Cook Islands’ women and their adornment from traditional adornment to the contemporary influences of modern day fashion has further been explored through a visual response to the relationships between the women and the layers of their adornment. This visual arts project is compromised of an exegesis with a value of 20% and a practical component of 80%.
25
Grunbaum, Barbara. "Glamour /." Online version of thesis, 1987. http://hdl.handle.net/1850/10149.
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26
Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.
27
Gavard, Sandra. "Photo-graft : a critical analysis of image manipulation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/MQ54990.pdf.
Повний текст джерела
28
Dellaposta, Jo-Ann J. "Homonymous projections /." Online version of thesis, 1989. http://hdl.handle.net/1850/11376.
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29
Fernandez, 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 джерелаАнотація:
This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia artists, continuing into the 1990s and beyond. I will be examining the works of four contemporary female artists and the impetus behind their work. The three main artists whose works will be examined are Brenda L. Croft, Destiny Deacon and Rea all of whom have dealt with issues of representation of the 'Blak female body, gender and reclamation of identity. The thesis will examine the works of these artists in relation to the history of representation by the dominant culture. Chapter 6 will look at a new emerging artist, Dianne Jones, who is looking at similar issues as the artists mentioned. This continuing critique of representation by Jones is testimony of the prevailing issues concerning Aboriginal representation
30
MacLeod, Catriona. "Invisible presence : the representation of women in the Francophone bande dessinée." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4366/.
Повний текст джерелаАнотація:
The francophone bande dessinée came of age in the late twentieth century, earning the title of “Ninth Art” and becoming increasingly accepted as a focus of critical discussion and academic analysis. However, despite this impressive evolution, the representation of women in the bande dessinée remains vastly understudied. This thesis thus aims to provide a first step in the analysis of female characters as a distinct phenomenon within the Ninth Art. It considers the evolution of female depiction throughout the twentieth-century medium and beyond, and provides close studies of specific female characters, the results of which are synthesised to present comparative conclusions relating to women in the bande dessinée as a whole. The historical and formal specificity of the medium is studied in relation to female representation to determine what may (or may not be) particular to the depiction of women in the bande dessinée. As a medium that is overwhelmingly male-dominated in terms of creation as well as representation, the differing relations to BD production between genders, both historically and socially, are represented within this thesis in a division of chapters examining female representation by men and by women artists. The first and second chapters consider respectively the depiction of female primary and secondary figures created by men in the medium, studying specific character examples and reflecting on the varying ways of looking at women drawn into different roles. The third and final chapter analyses the representation of women figures by women artists, focusing on how the specificity of the medium may contribute to female depiction outside of dominant modes of production and representation. Proposed next steps for continuing research on the representation of women in the bande dessinée form the conclusion to this work.
31
Edge, Sarah-Jane. "Photography and identities : a case study and related photographic practice : an investigation into the role of early photographic representations of working-class women from London (1860-1865) as represented in the photographic collection of Arthur J. Mu." Thesis, University of Ulster, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428807.
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Bowles, Laurian Rebekah. "WIDENING THE LENS: EMBODIMENTS OF GENDER, WORK AND MIGRATION WITH MARKET WOMEN IN GHANA." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/114250.
Повний текст джерелаАнотація:
AnthropologyPh.D.
Women have legendary roles as traders who financially dominate the sale of various market goods in West Africa. Head porters are young women from Ghana's rural northern region who work as human transporters in the various markets in urban areas throughout the country. Kayayei (female head porters) who work at these famed markets are the focus of this dissertation. The north of Ghana is the agricultural breadbasket of the country, with strong Islamic influences that thrive in dispersed, mostly rural ethnic enclaves. This contrasts sharply with the service manufacturing and trade economies that mark Christian influenced southern Ghana. As young women migrants arrive in Accra, this dissertation focuses on narratives of head porters as they confront the multi-ethnic, hierarchical social climates of the city, particularly Accra's largest shopping venue, Makola Market. This dissertation uses theories in phenomenology, informed by feminist anthropology, to consider the political economy of Ghana in order to examine how head porter's lives are grounded with the development history and the spread of capitalism in the nation-state. Throughout this dissertation, attention is given to the widespread informalization of the economy in the nation-state and the role of head porters in these processes. Using a methodology of collaborative photography with kayayei, this dissertation examines the politics of visibility and analyzes the kinds of skills these women develop in order to survive and negotiate the socio-economic hierarchies of urban space. By situating the theoretical and methodological concerns of this research within the social realities of rural-urban migrants, this dissertation explores migration as a sensibility that acts upon various social terrains at markets in Accra, Ghana.
Temple University--Theses
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Soukhakian, Fazilat. "The Private Revealed: A Search for a New Modernity Through the Lens of the Shah and Contemporary Photographers in Iran." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522057558134736.
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Istanbouli, Yasmin. "Depoliticizing The Identities of Refugee Women." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1264.
Повний текст джерелаАнотація:
"My name is..." // "...اسمي" is a photo series that aims to depoliticize the highly politicized identity of the Arab, female refugee. Due to the growing number of refugees being forced out of their homes and displaced all around the globe, their collective existence has turned into a number. The world only sees one image when they think of an Arab refugee; the suffering, hopeless body of an Arab, struggling to cross borders. The world is not exposed to the real experiences of these individuals, and their stories remain untold. With this project, I aim to share these stories. Female refugees have unique experiences as women, and as mothers. They hold specific responsibilities within the displaced family and community as a whole. Each of them carry different narratives, different hopes and dreams. Combining their stories alongside the photos will help humanize them and show a side to them that the mainstream media fails to show, a side that doesn’t drastically differ from the experiences of people all over the world, no matter where they are from.
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O'Dwyer, Kathryn A. "‘Posed with the Greatest Care’: Photographic Representations of Black Women Employed by the Work Progress Administration in New Orleans, 1936-1941." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2630.
Повний текст джерелаАнотація:
For decades, scholars have debated the significance of the Works Progress Administration (WPA), emphasizing its political, economic, and artistic impact. This historiography is dominated by the accomplishments of white men. In an effort to highlight the long-neglected legions of black women who contributed to WPA projects and navigated the agency’s discriminatory practices, this paper will examine WPA operations in New Orleans where unemployment was the highest in the urban south, black women completed numerous large-scale projects, and white supremacist notions guided relief protocol. By analyzing the New Orleans WPA Photography collection, along with newspapers, government documents, and oral histories, a new perspective of the WPA emerges to illuminate the experiences of marginalized black women workers, illustrate how the legacies of slavery and effects of segregation impact black women’s employment opportunities, and highlight how black women made substantive contributions to public projects in the face of societal constraints.
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Bosco, Adriana Perassi. "Entre a essência e a construção: experiências cotidianas do feminino a partir da produção fotográfica de jovens mulheres paulistanas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-27112009-112839/.
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Este trabalho procura descrever de que forma cinco mulheres jovens, de 24 a 35 anos, profissionais de nível universitário, pertencentes às camadas médias paulistanas, experimentam a dimensão do feminino em sua vivência cotidiana e a representam através de imagens fotográficas produzidas por elas mesmas. Pela presença que têm a imagem na socialização contemporânea e como maneira de incluir o sujeito em ação na pesquisa, optamos por trabalhar com fotografias. A partir da consigna Fotografe sua experiência de ser mulher em doze poses, as participantes produziram o material pictórico, que serviu de fio condutor para as entrevistas abertas que realizei no intuito de amplificar as possibilidades de entendimento acerca das imagens e do posicionamento das participantes dentro de um contexto discursivo mais amplo referente às identidades e relações de gênero.This paper intends to describe how five young women, ranging from 24 to 35 years of age, college graduates and professionals, belonging to the middle classes of São Paulo, Brazil, perceive the dimensions of being a woman in their everyday lives and how they represent their experience through photographs taken by themselves. Because photographic image is ever so present in the contemporary context, and as a way of including the subjects in the research through an action of their own, I chose to work with photos. The participants were told to take pictures of their experiences as women, and these images guided the follow-up interviews. Those interviews were made in the intent of amplifying my understanding regarding the visual material in a more ample discursive context referring to gender identity and gender relations.
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Daine, Nicola A. "Heterosexuality at the movies : an auto-ethnographic study of young heterosexual women and their viewing experiences." Thesis, University of Gloucestershire, 2007. http://eprints.glos.ac.uk/1334/.
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This thesis takes a qualitative, auto-ethnographic approach to interrogating heterosexuality via a series of in-depth interviews with young women about their experiences of watching films. I have adopted a feminist approach to the research, locating myself within the project via a series of extracts from research diaries I have kept during the project, reflecting my own position as 'researched' as well as 'researcher'. This auto-ethnographic approach draws on the work of previous theorists researching women's lives from a feminist perspective (e.g. Skeggs: 1995, 1997; Stanley and Wise: 1990, 1993; Maynard and Purvis: 1994).
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Bouveresse, Clara. "L'invention d'une académie : Magnum Photos, 1947-2015." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H001.
Повний текст джерелаАнотація:
Institution mythique du monde de la photographie, l’agence Magnum, fondée en 1947 par un groupe de photographes entrepreneurs, est plus qu’une coopérative. Dans l’histoire de la photographie de la seconde moitié du XXe siècle, c’est un modèle prestigieux pour l’ensemble de la profession, qui revendique son excellence et défend un canon d’images d’exception. Magnum ne serait-elle pas davantage une académie,institution éternelle et renommée, où l’on entre par cooptation ? Cette thèse propose, à partir de l’étude d’archives inédites, de retracer l’histoire de Magnum. Le prisme académique permet d’articuler l’évolution économique d’une entreprise, l’analyse des images produites, le récit des débats d’un groupe de photographes, l’histoire de leurs rêves collectifs.La première partie interroge les sources de l’académie, à commencer par la propagation du mythe Magnum et les dix premières années d’existence, lorsque l’agence fait corps avec le monde cosmopolite de l’après-guerre. La deuxième partie analyse le renouvellement académique de la fin des années 1950 à 1981, de la refondation d’une photographie engagée dans l’urgence mémorielle des années 1960,à la réponse cynique face au péril conformiste et commercial des années 1970, en passant par la dialectique coopérative qui déchire et réconcilie les membres. La troisième partie montre comment l’académie revendique son immortalité de 1981 à nos jours, s’imposant comme un monument patrimonial et une référence sur le web, et revient sur l’histoire des femmes à Magnum.Cette thèse met en lumière un chaînon méconnu de la production des photographies.Magnum est un point nodal qui définit la valeur économique des images, leur statut juridique, leurs usages commerciaux, journalistiques, documentaires et artistiques au sein de circuits de diffusion et de légitimation. Plateforme d’échanges partagée par plusieurs auteurs, Magnum invite à repenser, à l’heure de l’économie collaborative connectée, l’histoire et le rôle des « communs »Founded in 1947 by a group of entrepreneurial photographers, Magnum Photos, amythic institution in the world of photography, is more than a cooperative.Throughout the second half of the 20th century, it remained a prestigious model for the whole profession, claiming its excellence and promoting a canon of exceptional images. More than a mere agency, may Magnum be seen as an academy, a prestigious institution whose access is controlled by peers? The concept of an “academy” brings together the economic evolution of a business, the analysis of the pictures produced,the account of numerous debates amongst photographers, and the story of their collective dreams.This dissertation offers to retrace Magnum’s history, based on the study of unpublished archives. The first part investigates the sources of the academy, starting with the dissemination of Magnum’s myth and the first ten years of existence, when the agency was at one with the post-war cosmopolitan world. The second part analyzes the academic renewal from the end of the 1950s until 1981. It explores there-rooting of concerned photography into the memory urge of the 1960s; thecooperative dialectics, which divided and reconciled Magnum members; and the cynical answer to the conformist and commercial threats of the 1970s. The third part demonstrates how the academy claims its everlasting fame from 1981 until today,establishing itself both as a heritage landmark and an online reference; it alsointerrogates the history of women within Magnum.This dissertation sheds new light on a little-known stage of photographs’ production.Magnum is a nodal point defining the economic value of images, their legal status,their commercial, journalistic, documentary and artistic uses within circulation and legitimating networks. As an exchange platform shared by many authors, it invites us to rethink, within the context of a digital and collaborative economy, the history and the role of the “commons”
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Boyd, Ailsa Margaret Susan. "A home of their own : representations of women in interiors in the art, design and literature of the late nineteenth century." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/4407/.
Повний текст джерелаАнотація:
This thesis engages with the contribution made by literary and visual representations to debates about woman's role in Britain and America between 1860 and 1917. During, that is, a period of transition from the relative securities of the early Victorian period until the radical social shifts propelled by the First World War. I introduce design reform debates in painting and interior design, and examine how these were approached by George Eliot, Henry James and Edith Wharton, both in the homes they actually lived in, and those they created in their fictions, particularly for their female characters. Issues of the aesthetic and the moral, and the shifting relationships between them, underpin responses to art and design of the period, and are reflected generally in the literary and visual arts. The representation of women in domestic space, in actual and literary interiors, necessarily has ideological implications regarding the proper place of women within society. Thus, directly and obliquely, questions were repeatedly being asked about what constituted a desirable and fulfilling life for women in this society, and how such a life was to be achieved. To support my contention that this is a wide debate, I am looking at representational paintings of women in interiors, and advice about decoration in manuals of household taste, to augment the primary focus of the thesis on various fictional portraits of ladies. In the Introduction I discuss some recent examinations of women's space and place in Victorian society in art historical, literary and cultural studies. I explain the ideology of separate spheres and how it was interpreted in the plan and decoration of the home, underpinning the codification of interior decoration. I consider also how theorisations of 'the gaze' have been used to analyse representations of women and to explore issues of female empowerment. In Chapter One I examine the history of the design reform movement, Aestheticism, the application of the separate spheres in practice and the influence of manuals of household taste on how the home was actually decorated. Women's taste was a contested issue and the conceptual conflation of the women's body with the house formed the background to Aesthetic paintings of women. Some women decorators, often connected to radical political movements, used their professionalism to make the home a site of power, countering the seeming entrapment of women within the interior. In Chapter Two I examine George Eliot's unconventional home life, particularly the decoration of The Priory. I discuss how she utilised interiors and related themes of seeing and commodity fetishism in the explication of character in The Mill on the Floss, Middlemarch and Daniel Deronda. Sympathy with the wider world enables Eliot's female characters to transcend the destruction of subjectivity threatened by constriction within an unhappy home. In Chapter Three I examine how Henry James dealt with the complicated conceptual relationship of Europe and America in The Europeans, using themes of the search for a home and the theatricality of self-presentation. I explain his notion of the House of Fiction, which was expanded by Edith Wharton. In The Portrait of a Lady, taste is used as a moral indicator in his discussion of the 'envelope of circumstance', with Aestheticism as the background to its use. James theorises the status of women as objects within interiors and what this means for Isabe1' s developing consciousness, as she searches for a husband and home. James uses the ambiguities of 'seeing' to explore how good taste is reached at expense of human relationships. In Chapter Four I discuss Henry James's own search for a home in his later years, and the significance of Lamb House. I discuss his friendship with Edith Wharton and compare their taste in decoration and how this related to moral themes in their novels. In The Spoils of Poynton good or bad taste seems to divide people morally. However, the rigidity of these divisions is questioned, and Fleda and Mrs Gereth discover unhappiness as an authentication of experience, in a small home without men. In Chapter Five I discuss Edith Wharton's development as a writer, the homes she grew up in and how this relates to the decoration and creation of her own homes. Her highly theorised approach to interior decoration is demonstrated by The Decoration of Houses, which was put into practice in her own homes, finding its most perfect expression in The Mount. Wharton's experiences of creating a home for herself gave her the strength to write out of a society disinclined to attribute serious artistic effort to women, and her writings re-enacted the problems she encountered living in this society. In Chapter Six I examine Wharton's The Houseo! Mirth, Ethan Frome and Summer, employing Wharton's aesthetic theories as a key to interpretation of her fictional works. Lily Bart is seen within different interiors as she descends through society, and gender issues are illuminated by a discussion of how the tableau vivant at the centre-point of the book brings together themes of theatricality and the gaze. Lily's self-fashioning is fraught with misreadings by her society, disastrous for her search for a happy and beautiful home. The poorer setting of the two novellas demonstrates that Wharton applied her theories across social strata. For Wharton, the achievement of a happy home, morally decorated, could be impossible for women in American Victorian society. In the Conclusion I look at paintings by progressive artists which enacted the instabilities of cultural change in their depiction of women in interiors. The Great War destroyed the bourgeois interior that the fictional women I have discussed found it so difficult to remain within. The rejection of the constrictions of separate spheres became part of a new feminist project, articulated by Virginia Woolf and Catherine Carswell. Women no longer felt the need to be constrained by the gilded cage, and looked for possibilities lying outside of the drawing room.
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Gorino, Vitor Hugo 1982. "Darel, a fotografia e a figura feminina nos anos 80." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284063.
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Orientador: Maria de Fatima Morethy CoutoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T19:06:04Z (GMT). No. of bitstreams: 1 Gorino_VitorHugo_M.pdf: 37990068 bytes, checksum: 38ce33ebedcf48dc9371b81d54e703cb (MD5) Previous issue date: 2009
Resumo: Esta pesquisa teve por finalidade discutir as principais mudanças e inovações na obra artística de Darel Valença Lins decorrentes da incorporação de fotografias e de recursos de linguagem fotográfica em suas obras a partir de 1975. Para tanto, realizamos extensa pesquisa bibliográfica sobre o artista e sobre teoria fotográfica, juntamente com a pesquisa iconográfica realizada através de registro fotográfico dos originais, com o objetivo foi reunir um grande número de obras, viabilizando a discussão proposta. Nesse processo, pesquisamos acervos, periódicos, livros e documentos da Fundação Bienal - SP, MAM - SP, Masp, Pinacoteca do Estado de São Paulo, MNBA - RJ, MAM - RJ, Biblioteca Nacional - RJ e entre outros, os ateliês de gravura Glatt & Ymagos e GRAPHIAS: Casa da Gravura, ambos em São Paulo. Visitamos e realizamos duas entrevistas com o artista em seu ateliê no Rio de Janeiro. Com as informações e obras reunidas, concluímos nosso trabalho analisando obras do artista que tocam importantes questões do contato entre a produção artística enquanto fatura manual e a fotografia, buscando paralelos dessa discussão nas obras de outros artistas que trabalharam com o mesmo interesse.
Abstract: The objective of this research was to discuss changes and innovations in the work of Darel Valença Lins caused by the use of photographies and resources of the photographic image since 1975. To do so, we did na extensive bibliographic reseach on the artist and on phoptographic theory, along with the iconographic research in wich we photographed the original pieces, to gather a great number of works, making viable our discussion. In this process, we researched archives, documents, books, newspapers and magazines from Bienal Foundation - SP, MAM - SP, Masp, the State of São Paulo's Pinacoteca, MNBA - RJ, MAM - RJ, National Library - RJ and among others, the studio & galleries Glatt & Ymagos and GRAPHIAS: House of Prints, both in São Paulo. We have visited and interviewed the artist twice in his Rio de Janeiro studio. With the gathered information, we finished our research discussing some of the artist's works that resemble important questions on the contact among his production as a traditional artist and the photographic image, and making parallels with similar pieces by other artists.
Mestrado
Artes
Mestre em Artes
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MemÃria, Paula Roberta Fernandes. "A Imagem da mulher na moda: uma anÃlise das representaÃÃes dos corpos femeninos nas fotografias publicitÃrias da marca Dolce & Gabbana." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=7489.
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FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgicoEsta pesquisa aborda a representaÃÃo da beleza feminina nos corpos exibidos em vinte e quatro fotografias publicitÃrias da marca Dolce & Gabbana, analisadas sob a perspectiva de dois mÃtodos: a anÃlise composicional, sugerida por Rose (2001), e um mÃtodo desenvolvido por Dyer (1982) para a interpretaÃÃo das repr esentaÃÃes dos corpos na publicidade. Em um primeiro momento, se discute o conceito de representaÃÃo e a construÃÃo de um habitus (BOURDIEU, 1992, 2004), pelo corpo feminino nas fotografias. Apesar da elevada variaÃÃo do conceito de beleza, percebemos nas imagens dos corpos os valores atribuÃdos por uma determinada sociedade e que, na publicidade de moda, encontra-se vinculado ao consumo. Portanto, torna-se efÃmero para sustentar o mercado, que envolve, tanto os produtos dos anÃncios (que nem sempre estÃo diretamente vinculados à beleza feminina) como o prÃprio corpo que se tornou um produto e que possui toda uma indÃstria da beleza que o mantÃm. Em um segundo momento, percebemos a imagem da mulher na moda vinculada à seduÃÃo, pois como afirmou Mitchell (2009), as imagens pretendem nos beijar e tal seduÃÃo ocorre na maior parte das vezes com o espetÃculo. Surgem mulheres perfeitas, âas VÃnusâ da contemporaneidade sÃo apresentadas nas imagens publicitÃrias com medidas ideais, sem marcas de expressÃo, idiossincrasias, poros, quase âplastificadasâ (MAGALHÃES, 2006). Os âcorpos dÃceisâ na perspectiva de Foucault (1997), vÃm à tona, pois seguem a mesma linha e forma e precisam anular-se em funÃÃo do produto, tendo os seus gestos, atitudes e expressÃes controladas, reiterando estereÃtipos sociais femininos. Tais padrÃes sÃo difundidos pelas mÃdias nos discursos imagÃticos, que como afirmou Foucault (1997), engendram relaÃÃes de poder sobre modelos e espectadores, os quais alÃm de adquirirem os produtos da moda, terminam almejando os corpos. Conforme Garcia (2006, p. 9) âCompramos os produtos, mas desejamos o corpoâ e nÃo somente o corpo, mas toda a felicidade efÃmera apresentada pela publicidade. No terceiro momento da pesquisa percebemos que as imagens pautam a vida e os corpos dos indivÃduos na contemporaneidade e que, como Kamper (2002a) argumentou, as pessoas passam a viver tanto em funÃÃo das imagens que terminam morrendo por elas. Em um sentido metafÃrico ou literal, percebemos o argumento do filÃsofo nas imagens que apresentam mulheres neutras, sem vida, bonecas de âmarionetesâ da publicidade. O sÃculo XX agregou a mulher magra e longilÃnea, surgiram as modelos e top models, que se distanciam dos antigos valores agregados à beleza feminina (fecundidade) onde a gordura prevalecia nos corpos, hoje visualizamos o corpo magro, quase anorÃxico. Ao analisar as fotografias da marca Dolce & Gabbana percebemos que a mulher representada segue uma linha âquaseâ andrÃgena, com aspecto robotizado que se tornou evidente tanto pela sua atitude na cena como pelo corpo demasiadamente editado por softwares de tratamento. As fotografias possuem estreita relaÃÃo com o social, reiteram os valores atribuÃdos por nossa sociedade à beleza, onde corpos e tecnologias se unem e transformam as formas de ver e lidar com as imagens.
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Tavakoli, Omid. "A Burning Silence." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556307287955672.
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Tolbert, Tiffany Monique. "A content analysis of photographic images and gender in The source sports, Sports illustrated for women, Sports illustrated, and ESPN magazine." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217392.
Повний текст джерелаАнотація:
This study examined sports photographs in fifty-two issues (thirteen issues each) of The Source Sports, Sports Illustrated for Women. Sports Illustrated and ESPN Magazine for gender differences in the way athletes are visually portrayed. Duncan and Sayaovong's 1990 study was used as the foundation for this new study.The content analysis revealed quantitative differences in photographic depictions of female and male athletes. Like the previous study, gender differences were found in the overall number of photographs of female and male athletes. These photographs were then broken down into one-half page, full-page and pull-out photographs. Gender differences were also found in the number of male and female athletes on the cover of the magazines, and the level of activity or inactivity associated with athletes. Unlike the previous study, the researcher found no gender differences in prominent and supporting positions when both men and women were featured in a photograph and no difference in camera angles.Department of Journalism
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Evans, Laura E. "Eating Our Words: How Museum Visitors and a Sample of Women Narratively React to and Interpret Lauren Greenfield's THIN." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299860725.
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Smith, Dominique J. "Something's Wrong When You Regret Things That Haven't Happened: Effects of the Victimization of Women in Media." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/309.
Повний текст джерелаАнотація:
This paper will explore how portrayals of male violence against female characters in film and television have affected the way in which women navigate through society. Images of exploitation, degradation, and violence towards females are constantly presented in television and film, creating an over saturation in the media market and fostering a sense of normalcy the extremely problematic issue of violence. Often, these images are internalized by women to the extent that their view the men around them becomes as distorted as the men who view them as nothing more than sex object. Men become their source of fear and what was carried out on television becomes an accepted possibility and expectation in reality, regardless of whether these men actually pose of threat.
Through examining television shows and news broadcasts, the paper reveals how media serves to perpetuate traditional notions of gender, power, and assault created in American society and offers solutions to rework the traditional systems or thought.
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Symons, Suellen. "Rememories /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.155641/index.html.
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Mac, Dougall Lola. ""Not lost to human sight": indian glimpses of privacy in Zenana photographers, Dayanita Singh, Gauri Gill and Ketaki Sheth." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/396367.
Повний текст джерелаАнотація:
This research looks at the contributions made by some Indian women photographers to the representation of privacy. Indian women photographers have enjoyed a privileged access in their bid to depict privacy, or the quality or state of being apart from observation, and that access can often be attributed to their gender.
I propose to analyse the parallelisms and divergences in the representation of privacy by pioneer women photographers -with special attention to the phenomenon of zenana photography- as well as three contemporary practitioners: Dayanita Singh, Gauri Gill and Ketaki Sheth. I will argue that each of them has pushed, in her own way, the boundaries of representing privacy through photography and ensured that certain forms of privacy -often related to intimacy and the domestic domain- did not get “lost to human sight”.La presente tesis doctoral analiza las contribuciones de algunas fotógrafas indias a la representación de la privacidad. Desde 1840 las fotógrafas indias han disfrutado de un acceso privilegiado a retratar lo privado -aquello que se ejecuta en soledad o a la vista de unos pocos- y ese acceso se explica frecuentemente en razón de su género. En este estudio se analizan las correspondencias y divergencias en la representación de la privacidad de las primeras fotógrafas indias -prestando especial atención al fenómeno de la fotografía zenana - y tres fotógrafas contemporáneas: Dayanita Singh, Gauri Gill y Ketaki Sheth. El argumento es que, en cada uno de los casos de estudio propuestos, la fotógrafa ha explorado los límites de representación de la privacidad en fotografía, impidiendo que algunas de sus formas o manifestaciones, a menudo relacionadas con lo doméstico y la intimidad, “se escaparan a la mirada humana”.
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Chun, Sara Myung-Su. "The Sun Through My Hair: A Response to (Un)Romantic Imaginations of Asian/American Women." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/268.
Повний текст джерелаАнотація:
Women of color are still trapped in the colonialist trajectory of Delacroix’s sexualized Women of Algiers (1834) and alienated from the world of Sargent’s Daughters of Edward Darley Boit (1882) in contemporary media images that serve to exocitize, fetishize, and commodify non-white female bodies. These historical and contemporary images form a psychological weight both imposed on women of color by outside perceptions and by now-cemented internal perceptions. While women do not passively absorb media images, it cannot be ignored that the hypersexual Asian/American woman in representation “haunts the experiences and perceptions of Asian women” despite attempts to reject these images and efforts to identify empowering aspects of images of sexual power (Shimizu 2007). Ideas and expectations of sexual openness in women of color seep into our consciousness at many moments in our personal lives and cast doubt on Asian/American women’s engagements with sexuality. Resistance of and escape from objectification as an erotic racial signifier of difference are attempted through abstraction and self portraiture.
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Astore, Mireille. "The Maternal Abject." University of Sydney. Sydney College of the Arts, 2002. http://hdl.handle.net/2123/500.
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Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.
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Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.
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