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1
Adhitia, Tiara Sekar, M. Kholid Arif Rozaq, and M. Fajar Apriyanto. "Pin Up Style dalam Fotografi Fashion Kontemporer." spectā: Journal of Photography, Arts, and Media 3, no. 1 (August 5, 2019): 61–72. http://dx.doi.org/10.24821/specta.v3i1.3123.
Повний текст джерелаАнотація:
Fashion becomes a social symbol that gives the cultural identity to a person. Pin up style has existed since the late 1950s. This style which is a combination of urban style and pop culture is identical with a light, tight, and semi-open dress. The image sticking on pin up style fashion makes the women called as "teasing ladies". The chosen genre is contemporary fashion photography that is a genre in photography which aims to show the clothes and other fashion items influenced by the impact of modernization.The result of this final assignment project is a series of fashion photography which uses the fashion style of 1950s that is pin up style. In every visualization of the creation of this photographic work, it aims to present the story based on the ideas and the concepts as well as to introduce the type of pin up style for each photograph. The background, the property, the make up, the hair style, as well as the surrounding objects are used to support the story in the resulted photographs. Keywords: pin up style, fashion, contemporary fashion photography
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Göthlund, Anette. "Den omöjliga kvinnligheten." Tidskrift för genusvetenskap 21, no. 3 (June 16, 2022): 65–74. http://dx.doi.org/10.55870/tgv.v21i3.4381.
Повний текст джерелаАнотація:
Although there are pictures of men and women with erotic or sexual overtones in many visual genres the focus of this article is on fashion images. In our current research project, The Different Worlds of Fashion Images - Fashion Photography as Imagery and Communication, my colleague Anna Tellgren and I have focused on fashion imagery in our culture because it plays such an important role in our everyday visual experience. Moreover fashion photography has a long tradition of creating iconographic conventions in the representation of the female body, which have become a part of our understanding of the appearance of the female. Fashion photography can be studied, as can advertisements and art, as a visual discourse that demonstrates woman's role as a sign. In this paper I demonstrate that the manner in which fashion photography represents woman and femininity is part of a pictorial tradition. I show how an essential quality in art history, as well as in the photographic mediums own history, is the objectifying of the female body. The photograph has also served as a crucial agent in establishing links between consumer culture and sexualized images of women. In present day fashion photographs we frequently encounter a type of femininity constructed out of conflicting visual signs that either literally or symbolically combine the virginal body of the young girl with the sex appeal of a mature woman. I argue that this 'impossible' femininity is a construction that may give rise to feelings of ambivalence in or be rejected by female and by male viewers, although I also suggest that the male viewer observing this image from a secure position may be tempted by it. I maintain too that because this image of 'impossible' femininity denotes a totally fictitious woman she presents no real threat.
3
Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.
Повний текст джерелаАнотація:
Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them to a so-called assembly center (Figure l). The photograph would appear at first glance to tell a very different story. The women smile and extend their arms out of a raised train window to wave goodbye, as if they are embarking on a vacation or some other pleasant excursion. The Albers photograph is not an exception to the photographic record of incarceration. In the thousands of photographs made of the incarceration process by government photographers, independent documentarians, and “internees,” it is much more difficult to find photographs that portray suffering than it is to find images of smiling prisoners.Not surprisingly, these photographs of smiling Japanese Americans are unsettling for those scholars, curators, and activists who have worked to expose the injustices of the wartime imprisonment. The smiles are charged for several reasons: They appear to belie the injustice of incarceration and the suffering it caused, they are reminiscent of the ugly stereotype of the grinning Oriental, and they suggest that those portrayed were entirely compliant with the government's racist agenda.
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Schulze Tanielian, Melanie. "Defying the Humanitarian Gaze: Visual Representation of Genocide Survivors in the Eastern Mediterranean." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (June 2023): 186–211. http://dx.doi.org/10.1353/hum.2023.a916996.
Повний текст джерелаАнотація:
Abstract: This article is a critical encounter with the genre of humanitarian photography through the case study of images of women survivors of the Armenian Genocide. Viewing photographs taken as part of the American humanitarian campaign in the Eastern Mediterranean, the article exposes the universalizing modality of humanitarian photography while exposing mass atrocities as perpetuating the silencing of victims by reducing them to symbols of suffering. Through an indexical, forensic, and critical fabulatory engagement with the humanitarian photograph, the article aims to unsettle the universalized humanitarian body and explore the possibilities that lie at the boundaries of traditional historical methodologies. Firstly, it exposes the constraints of reading the image solely within the framework of the humanitarian index, highlighting the resulting silences. Secondly, the forensic reading, while placing the photograph in the context of the larger textual archive, provides glimpses into the local circumstances surrounding its creation but still violently mutes the photographed. Lastly, inspired by the method of critical fabulation, the article embraces a speculative reading to reimagine the lives and experiences of the women in the photograph based on imaginary possibilities. Deploying a method that attends equally to archival content and that which is impossible to discern allows us to shift the focus to those who are visible photographically but are nonetheless invisible in the archive and muted by being forced to perform as part of the humanitarian index.
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Lee, Christopher J. "Durban Moments." Nka: Journal of Contemporary African Art 2023, no. 53 (November 1, 2023): 138–51. http://dx.doi.org/10.1215/10757163-10904160.
Повний текст джерелаАнотація:
This essay reviews a series of photographs by South African photographer Omar Badsha exhibited as part of Sharjah Biennial 15 (SB15). Collectively entitled Once We Were Warriors: Women and Resistance in the South African Liberation Struggle (1981–1999), the thirty-one images selected for SB15 highlight the role of women as political activists during the 1980s and 1990s across South Africa. The essay discusses Badsha’s biography and approach to photography, in addition to appraising the images themselves.
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SHARANYA. "An Eye for an Eye: the Hapticality of Collaborative Photo-Performance in Native Women of South India." Theatre Research International 44, no. 02 (July 2019): 118–34. http://dx.doi.org/10.1017/s0307883319000014.
Повний текст джерелаАнотація:
This article examines the haptic politics of the Native Women of South India: Manners and Customs (2000–2004) ‘theatre museum’ composed by Indian performance artist Pushpamala N. and British photographer Clare Arni. Through a transnational collaboration, Native Women re-creates a visual genealogy of ‘popular’ Indian women images, reckoning with legacies of colonial and photographic studio photography. The article focuses on the engagements of Native Women with colonial representations of ‘the native’ (woman) in particular and asks: How does a transnational project resituating colonial ethnographic practices inform feminist performance methodologies? How does this photo-performance develop a haptic attempt at transnational solidarity? In what ways do haptic entanglements with photo-performance constitute new imaginations for collaborative practices? The article repositions Native Women as a performance work that reflects collaboration as a process of political intimacy.
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Vorontsova, T. A., and A. G. Artamonova. "Face VS Figures: Features of Constructing the Age of an Unfamiliar Person Based on the Perception of His Portrait and Height Photographs." Experimental Psychology (Russia) 16, no. 3 (October 27, 2023): 34–52. http://dx.doi.org/10.17759/exppsy.2023160303.
Повний текст джерелаАнотація:
<p>The aim of the work was to identify the features of constructing the age of an unfamiliar person based on the perception of his face (portrait photography) and physique (height photography). The main method was the procedure of "Photovideopresentation of the appearance" by T.A. Vorontsova. Photographs of four women and four men of different ages were presented to the subjects of perception for age assessment; the eye movements of the subjects of perception were tracked using the Gazepoint GP3 Eye Tracker. The sample of perception subjects included 76 people — 38 men (M=28.84 years) and 38 women (M=28.79 years) aged 21 to 59 years. Results: 1) the perceived age of an unfamiliar person, constructed by the observing subject on the basis of the perception of a face (portrait photograph), significantly differs from the age constructed on the basis of the perception of his integral appearance, presented in a growth photograph. The differences are mediated by the gender-age characteristics of the object of perception; 2) the number of fixations in solving the problem of determining the age of an unfamiliar person when considering his portrait photography is significantly greater than when considering a growth photograph, regardless of the gender and age characteristics of the object of perception; differences in viewing time are mediated by gender and age of the object of perception: the face of women and mature adults is viewed longer than photos of their integral appearance (growth photos); 3) the number of fixations and the time of viewing the faces of women is significantly more than the faces of men; there are significantly more faces of mature people than young people; the number of fixations in the perception of a growth photograph of women is significantly greater than a growth photograph of men; 4) the greatest concentration of views in determining the age of an unfamiliar person is focused on his face, regardless of the accessibility to the perception of body features. The "triangle of interest" in the perception of portrait photography (forehead, bridge of nose, eyes, nose, upper lip) is described; when perceiving a growth photograph, the zone of the greatest concentration of fixations includes 2/3 of the upper left part of the face of the object of perception and captures the hair, forehead, ear, nose, eyes. The results obtained are discussed in the context of a communicative approach to perception research.</p>
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Janeiro, Ana. "The Archive is Present: Performing a Story of Dictatorship Through the Family Album." Master, Vol. 5, no. 2 (2020): 32–35. http://dx.doi.org/10.47659/m9.032.ess.
Повний текст джерелаАнотація:
This essay describes an investigation into a family photographic archive that belonged to my grandparents and represent a period in Portugal’s past (1940–1975) scarred by one of the longest dictatorships in history. The research carries out an ‘iconographic’ analysis of the photographs in the family albums and on how these were influenced by the consistent and highly visual propaganda of the New State regime (1933–1974). It demonstrates how the iconography of this visual propaganda embedded itself into the family album, specifically regarding its propaganda strategy and its ideology and politics towards women. Later these findings were explored through performance photography, creating a photographic body of work. Focusing mostly on the figure of my grandmother and exploring pose and gesture, which were subsequently re-performed for the camera. The information contained within the archive images is re-written within the performance images. Keywords: photography and performative, visual propaganda, dictatorship, archive, visualization of the role of women
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Kelly, Marjorie, and Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf." Hawwa 19, no. 1 (February 22, 2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.
Повний текст джерелаАнотація:
Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-political commentary. The media coverage of Qatar’s Shaykha Mūza is analyzed in terms of her use of clothing as nonverbal communication and as a form of soft-power politics. It is followed by a discussion of the rules – formal and informal – for publishing photos of females. The paper concludes with a survey of Gulf females’ use of selfies. Thus, three aspects of photography – as art, as photojournalism, and as private communication – demonstrate how Gulf women visually represent their identities.
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Castillo Troncoso, Alberto del. "X’oyep’s Women: History, Memory, and Photography." Mexican Studies/Estudios Mexicanos 39, no. 2 (2023): 271–301. http://dx.doi.org/10.1525/msem.2023.39.2.271.
Повний текст джерелаАнотація:
This article revisits one of the most iconic moments in the recent history of photojournalism in Mexico: the Zapatista uprising at Chiapas in 1994. Throughout the essay, the publication of Pedro Valtierra’s famous photograph of a group of women who bravely confronted the Mexican Army on January 3, 1998, which immediately obtained international recognition, is reviewed, followed by an analysis of the photographer’s work, as well as the historical context within which the images depicted are situated. Through the analysis of photographs, combined with the narrated experiences of the photojournalists who created them, I examine the development of new political identities, such as indigenous Zapatista women, as well as the changing roles of photographs and the media press during the last years of the twentieth century.
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Pierce, Rachel. "The Female Gaze? Postmodernism and the Search for Women in the Digitized Photographic Collections of Swedish Memory Institutions." Open Information Science 3, no. 1 (January 1, 2019): 61–75. http://dx.doi.org/10.1515/opis-2019-0005.
Повний текст джерелаАнотація:
Abstract Both the photograph and digitization are often defined as democratizing forces. But neither exists outside the system of power dynamics that structure art, history, and cultural heritage. This article uses postmodernist theorization of knowledge hierarchies in the archive developed by archival scholars Terry Cook and Joan Schwartz to examine the gendered nature of metadata and data connected to digitized photographic material available on the platforms of the three major Swedish memory institutions: the Royal Library, the Nordic Museum, and the National Archives. Given that digitized photographs require the addition of machine-readable data and metadata to be findable, this information demonstrates the extent to which digitization staffs have consciously thought about the visibility of gender in their online collections. The research questions of this article are thus twofold: (1) to what extend have Swedish memory institutions embraced a postmodern approach to the archive in their photography digitization projects, and (2) has this approach resulted in the greater visibility of women-oriented material? The findings indicate that Swedish institutions have adopted postmodernist thinking about archival flexibility to varying degrees, but none have thought thoroughly about increasing the visibility of woman-oriented material.
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Currie-Williams, Kelann. "Makers and Keepers: Two Lives, through Photographs." Canadian Journal of History 56, no. 3 (December 1, 2021): 292–319. http://dx.doi.org/10.3138/cjh.56-3-2021-0044.
Повний текст джерелаАнотація:
Looking through the pages of family photo albums or the folders of photographic archival fonds can only be described as holding history in your hands. Whether it is in the form of colour or black and white prints, negatives, or slides, these photo-objects carry histories of lives lived that go beyond their frames. Focusing on a set of oral history interviews conducted with two Black women living in Montréal — a community photographer or image “maker” who was most active during the 1970s–1990s and a photo-collector or “keeper” who is currently active in preserving and sharing photographs for her church and wider communities within the city — this article engages with how the interweaving of photography and oral history gives us a rich way to experience the histories of Black social life in Montréal. Photo-led oral history interviews are sites for fruitful and in-depth conversation, providing interviewee and interviewer alike with the possibility of coming into encounter with everyday or minor histories that are too often overlooked. Moreover, this article is driven by a set entwined questions: How does oral testimony open up additional avenues for sharing the events of the past that have been captured through photographic images? What affective and relational qualities do photographs possess and how, in turn, do these qualities transform the space of the oral history interview? And, most urgently, why was photography used by Black Montréalers as a tool and a practice to remember and insist upon their collective presence?
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Ellis, Jacqueline. "Revolutionary Spaces: Photographs of Working-class Women by Esther Bubley 1940–1943." Feminist Review 53, no. 1 (July 1996): 74–94. http://dx.doi.org/10.1057/fr.1996.18.
Повний текст джерелаАнотація:
This article had several purposes. First, I wanted to highlight the work of Esther Bubley, an American photographer whose documentary work for the Farm Security Administration and the Office of War Information in the early 1940s is largely unknown. Second, I wanted to show how her images complicated and undermined the traditional themes of Depression era photography in the United States, Third, by looking at her images of women, my intention was to reveal how she worked against depictions of femininity during the Depression, and in confrontation with one-dimensional portrayals of women as America entered the Second World Wan In conclusion, I contend that Bubley's images were fundamentally portrayals of working-class femininity represented as being an individual – rather than a symbolic – experience. Most specifically in the images I have examined, Bubley deconstructs an ideological image of female working-class identity which was central to documentary photography in 1930s America. For example, unlike in photographs by Dorothea Lange, Bubley did not portray working-class women as metaphoric sites of passive endurance which would eventually lead to the rejuvenation of American nationalism. Rather, she showed working-class women to be potentially subversive in the ways they defined themselves against the legacy of 1930s photography and in opposition to the ideological impositions of wartime propaganda. As a result, Bubley's images of working-class women waiting in bars for lonely soldiers, or looking for a future beyond the confines of their boarding house existences while remaining outside the middle-class boundaries defined by capitalist consumerism, set out a pictorial foundation for working-class female identity which exists beyond the context in which the photographs were taken. Consequently, Bubley's work highlights individual self-identity, personal empowerment and self-conscious desire in working-class women which was – and still is – confined and repressed by economic disadvantage and systematic marginalization from an American society defined from a middle-class point of view.
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Jodliński, Leszek. "‘And I still see their faces…’: Wilhelm von Blandowski’s photographs from the collection of Museum in Gliwice." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 155. http://dx.doi.org/10.1071/rs09155.
Повний текст джерелаАнотація:
Wilhelm von Blandowski (1822-1878) was born in Gleiwitz, Prussia (now Gliwice, Upper Silesia, Poland). From 1862 through 1868, Wilhelm von Blandowski may have taken up to 10, 000 photographs. Though only a portion of his photographic accomplishment has been preserved, the existing photographs provide an insight into their content and character, as well as providing us with the better understanding of the work of their author. The main emphasis in the paper will be on Blandowski’s photographs presently in the collections of Museum in Gliwice. It will focus on his portraits with reference to some of the formal experiments Blandowski carried out, such as photomontage and narrative photography. Attention will be also drawn to his creation of documentary-like and realistic photographs. Both the commercial nature of the photographic business run by Blandowski, as well as his personal interest in picturing the human condition, had a strong influence on his photography. He put the person at the center of his interest. This was reflected in Blandowski’s attempts to capture the natural world of the Prussian borderlands in the 1860s. Blandowski depicted a place inhabited by Germans, Jews and Poles ‘the promised land’ of early industrialization. Witnesses of these days, the known and anonymous characters look at us from the hundreds of prints taken by Blandowski. Among them one can see wealthy industrialists, priests and doctors, workers and peasants, children and women, the rich and the poor, persons of different professions, nationalities and confessions. The article concludes with a discussion of the influences that Blandowski has had on his contemporaries and also of his place in the history of early photography in Poland.
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García Ranedo, Mar. "Entre la fotografía documental y la fotografía callejera: marginalidad y género." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 181. http://dx.doi.org/10.7203/laocoonte.0.5.12406.
Повний текст джерелаАнотація:
Resumen
Con este artículo, propongo un acercamiento analítico a dos series de fotografías, Pulsaciones y Utterances, de la que soy autora, que cuestionan el estatus fotográfico de la imagen y que ayudan a definir las diferencias y paralelismos entre lo entendido por fotografía documental y fotografía callejera. Ambas series se establecen a partir de fotografías “robadas” que persiguen visibilizar a la mujer y sus modos de ocupar el espacio público desde prácticas ciudadanas que revelan problemáticas de equidad y diferencia en relación al género. Con esta aproximación conceptual, dichas series -articuladas como conjuntos diagramáticos de imágenes- enfatizan la conveniencia de una sintaxis visual, organizativa de la narración y el discurso. Se pretende apoyar, de este modo, un tipo de fotografía callejera, causal, instantánea y operante, que desde esa instantaneidad recupere autenticidad y promueva una dialéctica entre el compromiso sociopolítico y la realidad.
Palabras clave: Fotografía, documental, callejera, mujer, género, sociopolítico.
Abstract
With this article, I propose an analytical approach to two series of photographs, of which I am the author, that questions the photographic status of the image and helps to define the differences and parallelims between what is understood by documentary photography and street photography. Both series are based on "stolen" photographs that seek to make women visible and their ways of occupying the public space during citizen practices that reveal issues of equity and difference in relation to gender. With this conceptual approach, these series -articulated as diagrammatic sets of images- emphasize the convenience of a visual, organizational syntax of narration and discourse. The aim is to support, in this way, a type of street photography, causal, instantaneous and operative, that recovers authenticity from instantaneity and promote a dialectic between sociopolitical commitment and reality.
Key words: Photography, documnetary, street, woman, gender, sociopolitical.
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Travassos, Lorena. "The Brazilian woman: from the colonial photography to contemporary Portuguese photography." Comunicação e Sociedade 32 (December 29, 2017): 169–89. http://dx.doi.org/10.17231/comsoc.32(2017).2756.
Повний текст джерелаАнотація:
This study aims to carry out an initial analysis of how the Brazilian woman image is shaped by a discourse that is historically constructed and reinforced by colonial photography. This visuality has endured through the ages and represents a form of contemporary colonialism, as it is characterized by an identity reductionism disguised as a global ideology. The possibility of paradox prevalence in these speeches is analyzed through a critical view of the work of André Cepeda and Miguel Valle de Figueiredo, Portuguese photographers who has produced photography artwork about the Brazilian woman. In these images, the construction of a visual concept of Brazilian women revealed underlying statements supported by their perceptions and experiences, as well as in generalized beliefs. Thus, it was concluded that the understanding of the image of Brazilian women as portrayed by those photographers shows itself covered of brand new colonizing processes in which the Brazilian woman’s image is linked with a sense of an available and sensual body, imbued with the concept of a colonial body that still persists in contemporary imagery.
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Nava, Mica. "The Woman in My Life: Photography of Women." Feminist Review, no. 36 (1990): 42. http://dx.doi.org/10.2307/1395108.
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Nava, Mica. "The Woman in My Life: Photography of Women." Feminist Review 36, no. 1 (November 1990): 42–51. http://dx.doi.org/10.1057/fr.1990.44.
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Lin, Chyong-Ling, Jin-Tsann Yeh, and Pei-Chen Lan. "A Coming-Out Party for Women: Empowerment Through Bridal Photography." Social Behavior and Personality: an international journal 40, no. 2 (March 1, 2012): 339–51. http://dx.doi.org/10.2224/sbp.2012.40.2.339.
Повний текст джерелаАнотація:
A wedding is a part of a series of ceremonies and image construction events designed to create the ideal. Bridal photographs no longer show newlyweds and their families in rigid poses. Diverse wedding costumes, modeling, and visual consumption aesthetics can overwhelm the newlyweds as they become the critical focal point in a strategy of product differentiation. Instead, personalized and entertaining visual consumption has become very popular. In this study the consumers of bridal photography and bridal salons are the target population; we probe the aesthetic values on which are based the evolution of traditional female stereotypes and male-female power structures. Results indicate that female role portrayal is based not only on standard social and cultural perspectives, but also on self-image. Women take the leading role in bridal photographs, signalling their independence in playing the bride role, but also showing the value of self-reward as a marketing tool. Consumption in modern bridal photography is based on self-image realization and the collectively shared culture of the new bride.
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Bojanić, Sanja, Jelena Ćeriman, and Sara Nikolić. "Upotreba foto-elicitacije u sociologiji." Revija za sociologiju 53, no. 3 (December 31, 2023): 429–57. http://dx.doi.org/10.5613/rzs.53.3.4.
Повний текст джерелаАнотація:
In sociological research, photography is most commonly used to supplement presented data and less frequently as a data collection technique. This paper focuses on using photography to examine the gender aspect of poverty in rural areas of Serbia. Through the application of photo-elicitation, data were collected in field research during 2015 in Serbia. The data include photographs taken by girls and women beneficiaries of social services. Additionally, they incorporate the notes on the motives and interpretation of the photographs taken, along with transcripts of interviews conducted with the photographers a month after the photography sessions. The research has shown that photography, as a medium, connects the emotional experiences of poverty among research participants with the factual conditions of their lives in material deprivation and isolation. Consequently, it offers the possibility of articulating diverse meanings of poverty. The diversity of meanings of poverty is evident in the specific social categories to which the interviewees in this study belong, such as persons with disabilities, for example. Based on the findings of this research, the use of photo-elicitation emerges as particularly significant in sociological studies that involve the exploration of subjective meanings and experiences of specific population groups, such as girls and women living in poverty in rural areas of Serbia.
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Young, Cynthia. "Rochester’s Women and Photography Conference." Afterimage 26, no. 1 (July 1998): 2–3. http://dx.doi.org/10.1525/aft.1998.26.1.2.
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Goncharova, Natalia N., and Alexandra A. Castro Stepanova. "On the possibility of using anthropological photography to determine linear facial dimensions. Methodical article." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 17–26. http://dx.doi.org/10.32521/2074-8132.2021.3.017-026.
Повний текст джерелаАнотація:
Three samples were analyzed – the population of central Chile (175 men and 55 women), the indigenous population of Altai (38 men and 67 women) and the Russians of Altai (52 men and 42 women). The collection of material took place in two stages: working directly with the subject and working with photographs. Measurements of the parameters of the head and face of the subjects in the field in both cases were carried out according to the classical method of V.V. Bunak, adopted in the Russian anthropometric school. Photographing in portrait and in profile was carried out taking into account the recommendations for the production of anthropological photographs. Further, the dimensions in pixels were calculated from the photographs, and converted into mm using one indicator, which was measured both in the field and from a photograph (the distance between the canines for the Chilean sample, and the width of the nose for the Altai ones). Results and discussion. The sizes obtained in the field were compared with their counterparts obtained from photographs. For these dimensions, regression equations were obtained, allowing to most accurately translate the dimensions obtained from photographs into real dimensions. It was found that in the event that the thickness of soft tissues above the bone base is insignificant or the size does not depend on the bone base, the difference in measurements on the subject and in the photograph is within the boundaries of acceptable discrepancies between researchers. In this case, the performance of the equations will depend on the scale of the element used for recalculation – the larger it is, the smaller the error. Regression equations were obtained on three samples, allowing one to compare the linear dimensions obtained in the analysis of photographic images with the dimensions obtained in the field. However, it should be emphasized that only the mean values obtained using the regression equations should be used, since in this way individual variability is leveled.
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Ryzova, Lucie. "Boys, Girls, and Kodaks." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 215–55. http://dx.doi.org/10.1163/18739865-00802005.
Повний текст джерелаАнотація:
This essay looks at a little studied genre of photographic albums—‘peer albums’—created by young Egyptian men and women through the middle decades of the twentieth century. These strongly gendered albums are characterized by the visual exclusion of social seniors, and were typically kept hidden from them. As photographic objects embedded in particular social relationships and contexts, these albums speak of how a classed and gendered self emerged in early- to mid-twentieth-century Egypt through a range of practices, of which photography-making (and album-making) was part. But photography also had its own agency in engendering new practices. The social efficacy of vernacular photographs was predicated on a combination of photographic indexicality and performativity. Through the making of such albums, young modernity-claiming Egyptians were asserting, performing and negotiating the parameters of their middle-class urbanity, their emerging positions as modern gendered subjects and as adolescents. Together with the range of peer activities in which they were embedded, these albums represented zones of autonomy free from patriarchal control, but still nested within larger patriarchal structures. Ultimately these albums show how particular historical subjects come to be through engagements with objects; and how patriarchy and individualism construct each other.
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Raymond, Claire. "Can there be a feminist aesthetic?" Comunicação e Sociedade 32 (December 29, 2017): 45–57. http://dx.doi.org/10.17231/comsoc.32(2017).2750.
Повний текст джерелаАнотація:
Can there be a feminist aesthetic?” analyzes the difficulty of finding an ontological position from which to write about photography created by women. It interrogates the discomfort of inhabiting, socially, and in art and literature, the position of the embodied feminine, and seeks through aesthetic analysis to mine this discomfort. The essay argues that despite the social and intellectual discomfort of articulating a space of the feminine, in that this space is always already coded as oppressed, there is a value in interpreting photography created by women through the lens of feminist resistance. The article concedes that defining the word woman is always a risk, in that the term reflects manifold and contradictory embodied experiences. And yet, within this avowed risk emerges the only space of possible resistance to oppression, the opportunity to create a rearrangement of the visible so that the category of the oppressed woman, however phantasmatic, is re-envisioned as sovereign. However, each act of re-envisioning woman must be culturally specific. Hence, the essay concludes with an interpretation of Ethiopian photographer Aida Muluneh’s series of images Dinkinesh (or, “you are beautiful”), evoking the remains of an Ethiopian hominid that were long considered to be the oldest of human ancestors. Muluneh reclaims this distant ancestor as Ethiopian, dressing her in an extravagant red gown, using photography to re-envision Dinkinesh’s fall into history, granting this ancestor the power to haunt modernity.
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Mykytka, Iryna, and Isabel Balteiro. "Painting with words: describing women in photography." Feminismo/s, no. 38 (July 13, 2021): 149. http://dx.doi.org/10.14198/fem.2021.38.06.
Повний текст джерелаАнотація:
This study aims to identify and explore the linguistic devices used to describe women in photography, and the similarities and differences between women and men’s descriptions. Nowadays, digital photographs are often accompanied by text such as titles, descriptions, comments, or tags. Though the language used in social media has largely been explored in relation to different fields of knowledge and from different perspectives, to the best of our knowledge, there is no work dealing with the language used by professional photographers to describe women and men. In order to carry out the study, we have compiled two samples of the keywords used to describe images representing female and male figures; the source of such sample being an image stock used by professional photographers (Alamy). To fulfil our objective, descriptive adjectives were identified, analyzed, and compared and/or contrasted. The results show many similarities in the use of the descriptive adjectives for women and men’s images, and they also seem to suggest that women and women’s beauty in particular are described from the male perspective and their stereotypes in our society.
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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.
Повний текст джерелаАнотація:
The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial practice for townspeople throughout the world. In the pre-WWI Kyiv dozens of ateliers produced photographic portraits in large quantities. While the urbanization and economic growth boosted migration activity and washed out traditional family and neighborhood networks, the photography provided an instrument for maintaining emotional connections between people. The author emphasizes the role of a professional photographer who acted as a maker of ‘memory artifacts’ for individuals and families and, therefore, established aesthetic standards for their private visual archives. It is stated that the professional photography played a noticeable role in modernization and westernization of Kyiv. With its relatively low barrier to entry, it provided a professionalization opportunity for women, representatives of the lower social classes or discriminated ethnic groups (such as Poles after the January Insurrection, and Jews). While working in a competitive environment, photographers had to adopt new technologies, improve business processes and increase their own educational level. At the same time, their artistic freedom was rather limited. The style of photographic portrait was inherited from the Eighteen and Nineteen-century academic art, so it is usually hard to distinguish photographic portraits made in Kyiv or in any other European city of that period. Body language of models, their clothing and personal adornments as well as studio decorations and accessories aimed to construct the image of successful individuals, faithful friends, closely tied family members with their own strictly defined social roles etc. The old-fashioned style of the early twentieth century portraiture shaped the visual aesthetics of photographic portrait that was noticeable enough even several decades later.
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Struk, Janina. "images of women in holocaust photography." Feminist Review 88, no. 1 (April 2008): 111–21. http://dx.doi.org/10.1057/palgrave.fr.9400378.
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Ilma and Yudhi Andoni. "Representasi Dan Identitas Perempuan Minangkabau Dalam Fotografi Masa Kolonial Tahun 1900-1942." Musãwa Jurnal Studi Gender dan Islam 23, no. 1 (June 22, 2024): 1–21. http://dx.doi.org/10.14421/musawa.2024.223.1-21.
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Artikel ini menjelaskan bagaimana representasi dan identitas perempuan Minangkabau dalam periode kolonial tahun 1900-1942 melalui analisis fotografi. Tulisan ini mengkaji bagaimana fotografi sebagai medium visual tidak hanya merekam tetapi juga membentuk persepsi dan representasi tentang perempuan Minangkabau oleh masyarakat kolonial dan bumiputera. Melalui tinjauan terhadap koleksi foto-foto yang diambil oleh fotografer kolonial, artikel ini akan menyoroti berbagai aspek kehidupan perempuan, termasuk modernitas, gaya hidup, peran sosial, adat istiadat, dan dinamika keseharian mereka dalam konteks budaya Minangkabau. Penulisan ini menggunakan metode sejarah, terutama didasarkan pada sumber-sumber sezaman seperti surat kabar, majalah, foto, serta beberapa kajian sebelumnya yang telah dilakukan. Hasil studi ini menunjukkan bahwa fotografi masa kolonial memberikan wawasan berharga tentang interaksi sosial, status gender, dan adaptasi budaya di tengah pengaruh kolonialisme, serta membuka diskusi tentang representasi visual dan narasi historis perempuan Minangkabau dalam arsip kolonial. [This article explains the representation and identity of Minangkabau women in the colonial period 1900-1942 through photographic analysis. This writing examines how photography as a visual medium not only records but also shapes perceptions and representations of Minangkabau women by colonial and native communities. Through a review of a collection of photographs taken by colonial photographers, this article highlight various aspects of women's lives, including their modernity, lifestyle, social roles, customs and daily dynamics in the context of Minangkabau culture. This writing uses historical methods, mainly based on contemporary sources such as newspapers, magazines, photographs, as well as several previous studies on the related issues. The results of this study show that colonial period photography provides valuable insight into social interactions, gender status, and cultural adaptation in colonial period. It a opens discussions about the visual representation and historical narratives of Minangkabau women in colonial archives.]
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Baskara, Dio Nanda. "PREMENSTRUAL SYNDROME DALAM FOTOGRAFI EKSPRESI." spectā : Journal of Photography, Arts, and Media 4, no. 1 (December 16, 2020): 41–50. http://dx.doi.org/10.24821/specta.v4i1.3760.
Повний текст джерелаАнотація:
Premenstrual Syndrome is a symptom experienced by women before menstruation arrives. Many stories in the form of complaints from female friends. Based on this, ideas emerged to create photographic works of expression about the effects of Premenstrual Syndrome that were packaged with anaglyph technique. The impact to be visualized is a physical, psychological, and emotional symptom in the period before and until menstruation is over. Premenstrual syndrome information that has been collected through observation will be displayed visually by the medium of photography and using the object of a professional female model, as well as the addition of supporting properties to reinforce the message to be conveyed so as not to develop the meaning that comes out of the ideas that have been made. The work of photography created is a work of expression photography. This creation has an embodiment concept that displays visuals from the development of three-dimensional photographs, namely anaglyph and how to see this work must use anaglyph glasses, in the first glasses using a red colored glass lens and the second glasses using a blue lens glass and then how to view works using these glasses in turn. As for the obstacles that were experienced in the presentation of the embodiment of works including akat, place and time. The place is very influential on the atmosphere that appears in the photo, so the choice of place must be really in accordance with the concept to be appointed.Keywords: Premenstrual Syndrome, anaglyph, fine art photography.
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Flores, Teresa Mendes. "Maria Pia fecit / By Maria Pia: the observed and the observer. Some reflections on gender issues considering the case of Queen Maria Pia, the photographer." Comunicação e Sociedade 32 (December 29, 2017): 123–45. http://dx.doi.org/10.17231/comsoc.32(2017).2754.
Повний текст джерелаАнотація:
his article discusses some aspects of the status of women amateur photographers during the turn of the 19th to 20th centuries, considering the case of the Portuguese Queen Maria Pia of Savoy (1847-1911). We acknowledge the difficulties of making the historiography of women photographers in Portugal, due to the scarcity of sources and archives, and the lack of questions about these absences and their reasons. These facts have contributed to a history of photography in Portugal that consists of a succession of male names of “great photographers”. Asking questions about “the other half”, as well as broadening conceptions of photography to include the diversity of their practices may contribute to highlight the gender constructions raised by photographic practice. It also will help to understand the factors contributing to the limited access of Portuguese women to this practice and the lack of their public visibility, during this period.
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Wanczyk, David. "FRAMING GERTRUDE: PHOTOGRAPHIC NARRATION AND THE SUBJECTIVITY OF THE ARTIST-OBSERVER IN LEVY’STHE ROMANCE OF A SHOP." Victorian Literature and Culture 43, no. 1 (February 6, 2015): 131–48. http://dx.doi.org/10.1017/s1060150314000382.
Повний текст джерелаАнотація:
In Amy Levy's 1888 novel,The Romance of a Shop, four orphaned sisters, the Lorimers, open a photography studio in London and struggle to find business and a balance between free expression and propriety. Certainly, the sisters’ commercial involvement with photography can be read as artistic and unconventional for women of the time, but their position as artist-observers sometimes seems to relegate them to a space behind the lens and behind the window that divides their apartment from the society they look out upon. It is from that position as photographer-observer that Gertrude, the most introspective and yet most socially conscious of the sisters, wields her perceptive powers, her piercing gaze. Photography, and the way in which it influences her mode of observing, gives Gertrude an accurate, superior vision and a kind of social agency; but that gaze is negatively mediated by photography, too, filtered by the machine.
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West, Caroline. "The Lean In Collection: Women, Work, and the Will to Represent." Open Cultural Studies 2, no. 1 (November 1, 2018): 430–39. http://dx.doi.org/10.1515/culture-2018-0039.
Повний текст джерелаАнотація:
Abstract In February 2014, Getty Images, the largest international stock photography agency, and LeanIn. org, Facebook COO Sheryl Sandberg’s women’s empowerment foundation, announced a new partnership that aimed to change the way women are portrayed in stock photography. The “Lean In Collection” with Getty seeks to challenge visual gendered stereotypes ascribed to both sexes in the daily life of work, home, and family life in advertising imagery. While the overarching ambition of gender empowerment implicit in the mission of Lean In is a worthwhile goal, I look to the problematic relationship rooted in the partnership between Lean In’s gender empowerment initiative and the role of Getty Images in trafficking aesthetic stereotypes for profit. Using methods of visual analysis and feminist critique, I argue that the photographs idealise a concept of female empowerment that is steeped in the rationale of neoliberal economics, which narrowly circumscribes gender citizenship according to the mandates of market logic. The Lean In Collection describes gender equality not as a right of citizenship procured by the state, but as a depoliticised and individualised negotiation.
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Wulandari, Arti, and Zulisih Maryani. "FOTOGRAFI POTRET WANITA PENAMBANG PASIR DFOTOGRAFI POTRET WANITA PENAMBANG PASIR DI LERENG SELATAN GUNUNG MERAPI, DAERAH ISTIMEWA YOGYAKARTA." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (September 14, 2017): 53. http://dx.doi.org/10.24821/rekam.v13i1.1578.
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Ketegaran dan kesabaran yang luar biasa, sebagai sesama wanita, dari para wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta menjadi inspirasi bagi penulis untuk diungkapkan dalam karya fotografi dengan bentuk potret hitam putih karena potret bisa mewakili keadaan sebenarnya dari objek. Penciptaan ini bertujuan mengungkapkan kehidupan wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta dalam fotografi potret hitam putih dikaitkan dengan aspek teknis kreatif dan fungsi nilai sosialnya.Proses perwujudan mencakup tahap-tahap penciptaan dan media yang digunakan untuk mewujudkan karya seni fotografi potret yang tentunya membutuhkan bahan, alat, dan teknik. Prosedur pelaksanaan meliputi persiapan, pemotretan, proses editing, penentuan lay out, dan pencetakan hasil akhir. Karya penciptaan ini menampilkan karya-karya yang merupakan serangkaian fotografi potret wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta. Melalui foto-foto yang ditampilkan diharapkan dapat memberikan sudut pandang bagi masyarakat dalam mengapresiasi sosok wanita penambang pasir, melalui ketegaran dan kesabarannya yang luar biasa. Keunggulan karya ini adalah menampilkan foto potret wanita penambang pasir dengan hitam putih sehingga tampak lebih dramatis. Obstinacy and remarkable patience, as a fellow woman, from the women sand miners in South Slope of Mount Merapi, Yogyakarta became the inspiration for the author to be expressed in the form of photographic works with black and white portrait because a portrait can represent the actual state of the object. The aim of this creation reveals a woman's life sand miners in South Slope of Mount Merapi, Yogyakarta in black and white portrait photography associated with the creative and technical aspects of the function of social value. The embodiment process includes the stages of creation and media that are used to create works of art portrait photography that will require materials, equipment, and techniques. Implementation procedures covering the preparation, shooting, editing, determination lay out, and print the final results. This creative work featuring the works is a series of photographic portraits of women sand miners in South Slope of Mount Merapi, Yogyakarta. Through the photographs displayed are expected to provide viewpoints for society to appreciate the female figure sand miners, through fortitude and patience were outstanding. The advantages of this work is to show a portrait photo woman sand miners with black and white so that it looks more dramatic.
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PEATE, AILSA. "‘El narco está de moda’: Corporeality, Gender Violence and Narcoculture in Culiacán, Sinaloa." Bulletin of Hispanic Studies 100, no. 10 (November 2023): 1027–51. http://dx.doi.org/10.3828/bhs.2023.70.
Повний текст джерелаАнотація:
This article considers how the figure of the buchona can be seen as another form of victimization for women in north-western Mexico. It focuses on previous representations of gender violence by the photographer Mayra Martell in her photography series Ensayo de la Identidad (2005–2020) and her more recent project Buchonas (2017–2023), composed of six items, including the photography book Culichi Town (2018) and the playing/ collectors’ cards, Plebes (2019). This article argues that visible femininity associated with certain (often prosthetic) beauty standards can be considered a victim of a hyperviolent machista presence, in line with Sayak Valencia’s theorizations in Capitalismo Gore (2018), using the work of comedian Cid Vela’s alter ego, El Ezequiel, singer of ‘narcocorridos’ – ballads popular in Mexican drug culture – to demonstrate how, rather than use satire to critique systemic gender violence, Vela’s work revictimizes these women.
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Zanco, Amanda. "Women Without a Nation." Stream: Interdisciplinary Journal of Communication 13, no. 1 (November 5, 2021): 85–95. http://dx.doi.org/10.21810/strm.v13i1.295.
Повний текст джерелаАнотація:
Photography has the ability to provoke ethical reflection and to provide an emotional connection to the reality of individual suffering (Hariman & Lucaites, 2016). Therefore, given the remarkable importance of visual communication in covering humanitarian crises, this short paper aims to problematize humanitarian photography practice and reflect on alternative ways of framing representations of refugee women’s life experiences outside mainstream media. Thus, I propose here an initial conversation regarding my doctoral research that focuses on self-representation of refugee women. I aim to investigate how self-representation can challenge the way to document refugee women’s life experiences by constructing through visual narration their identities and exiled memories. Therefore, the objective of this paper is to deromanticize the humanitarian discourse by reflecting on the photographer’s role in the field and by exploring alternative photography practices that frame nations affected by crises. The word crisis governs my work not only because refugee women are victims of a global refugee crisis resulting from armed conflict, natural disasters, and diseases, but also because of the daily subjective crises that these women face in lands that they now call home. Through self-representation, they can construct their stories beyond the problematic of conflicts. Thus, by reflecting on the activist potential of self-representation in framing of refugee memories it is possible to think of new opportunities to make their struggles visible in times of crisis.
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Mountfort, Paul. "Defending the Candid Gaze: Theory, the Archive, and Depolicing Street Photography." Journal of Asia-Pacific Pop Culture 9, no. 1 (July 2024): 4–27. http://dx.doi.org/10.5325/jasiapacipopcult.9.1.0004.
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Abstract Since practically the dawn of photography, there have been concerns over street photography’s invasive and potentially exploitive nature, from late nineteenth-century tropes of pests and “sneaky characters” trailing women in public parks to more recent panics over “camera fiends” and even state security warnings of the need to be vigilant of photographers potentially casing infrastructure for terrorist attacks. This article argues, using potted history and critical theory, that such straw-man arguments distract from the real dangers that the policing and curtailment of public photography pose, characteristic, as they are, of authoritarian regimes where control over taking and circulating images is an integral part of oppressive state and corporate apparatuses. Street photography’s implicit role in the construction of an archive of aesthetic and documentary value can be understood as a type of resistance to such threatened microfascisms.
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Darmon, Chloé. "Abandoned wash-houses. Archiving wash-women practices in Oporto modern urban space." Sophia Journal 6, no. 1 (January 12, 2022): 154–69. http://dx.doi.org/10.24840/2183-8976_2021-0006_0001_17.
Повний текст джерелаАнотація:
This visual essay shows the relationship between urban analysis and the use of archival images. Firstly, the research process for the realization of this work will be explained, in which photography is an important tool to understand the urban morphology and help to complete and document the theoretical part of my master thesis Inhabiting Water, Public Wash-houses of Oporto: an experience of women in modern city (2020) - which is a theoretical-practical work. Secondly, the historical dimension of the public wash-houses construction will be discussed, showing the invisibility of women in urban and public space - and in the history of urbanism. This invisibility has motivated the search for areas related to the experience of women in the modern city (19th and 20th centuries), assuming that wash-houses are an observatory of urban hospitality (Perrot 1997, 160) and also of women’s practices on the territory. We will see that, in the contemporary urban space, the wash-houses are abandoned and form a network of places in the city. These ruins are potential cultural facilities to be brought out of oblivion. The photographic work carried out during the master thesis took shape in an interactive map (https://maphub.net/chldmn/lavoirspublicsporto) that shows a selection of photographs from 1940 - with women in red to identify their presence in the washhouses - and photographs taken during the summer of 2020. The integration of these wash-houses in the Oporto Water Heritage Park, protected by the UNESCO Global Network of Water Museums, is one of the outcomes of this research.
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Stoll, Mareike. "Don’t Judge a Book by Its Cover: Aenne Biermann’s 60 Photos." AM Journal of Art and Media Studies, no. 28 (September 15, 2022): 1–14. http://dx.doi.org/10.25038/am.v0i28.515.
Повний текст джерелаАнотація:
“A child’s hands” was chosen as the cover image for a monograph by photographer Aenne Biermann (1898–1933), published in Weimar Germany (1930) as part of a small series of paperback publications edited by Franz Roh and Jan Tschichold. Volume 1 of the same series, also published in 1930, was dedicated to photography by László Moholy-Nagy, who in a different context had advocated for photographic literacy. Even though Biermann was published amongst the forerunners of the New Vision, as evidenced by her photobook 60 Photos, she had been forgotten for a long time. By calling attention to her photographic oeuvre, my essay poses questions about the mechanisms of writing photobook history (and which books are omitted from it). In the discourse surrounding the photobook, the child’s hand as depicted on the cover is viewed as a symbol of the activity that the photobook unleashes, both as a tangible object and as a thinking device. Biermann’s photo-constellations oscillate between training manual and atlas for seeing, between perception primer and picture book; they offer a surprisingly humorous complexity, taking full advantage of the photobook as a medium of artistic expression.
Acknowledgments: This paper is based in part on arguments first developed in my PhD dissertation Schools for Seeing: German Photobooks between 1924 and 1937 as Perception Primers and Sites of Knowledge (Princeton University, 2015), as well as my ABC der Photographie. Photobücher der Weimarer Republik als Schulen des Sehens [ABC of Photography. Photobooks of the Weimar Republic as Schools for Seeing] (Cologne: Walther König, 2018). Thanks to Vreni Hockenjos for the invitation to present at FotoWien in March 2022, where I took part in a panel entitled “Beyond the Margins: on Photobooks by Women”. Her research and thoughts on photobooks are invaluable. Thanks also to Michael Jennings, Sigrid Weigel, Devin Fore, Eduardo Cadava, and Barbara N. Nagel for supporting earlier thoughts on this topic in my dissertation, and to Catherine Abou-Nemeh for reading a draft version of this paper. I am grateful to Annette Kicken and the late Rudolf Kicken, as well as Petra Helck, Anna Kröger and Ina Schmidt-Runke of Gallery Kicken Berlin for introducing me to Aenne Biermann’s photographs already in 2006. The author acknowledges the support of the Cluster of Excellence “Matters of Activity. Image Space Material” funded by the Deutsche Forschungsgemeinschaft (DFG, German Research Foundation) under Germany’s Excellence Strategy – EXC 2025 – 390648296.
Article received: April 15, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper
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Zrull, Lindsay Smith. "Women in Glass: Women at the Harvard Observatory during the Era of Astronomical Glass Plate Photography, 1875–1975." Journal for the History of Astronomy 52, no. 2 (May 2021): 115–46. http://dx.doi.org/10.1177/00218286211000470.
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Starting in the late 19th century, the Harvard Observatory hired women to study stars via the Astronomical Photographic Glass Plate Collection. Some of these women—such as Annie Jump Cannon, Henrietta Leavitt, and Cecilia Payne-Gaposchkin—made discoveries that changed astrophysics forever. However, they were far from the only women working at the Harvard Observatory during the era of astronomical glass plate photography. Historically, most of these women have been anonymous. The names found on over 400,000 glass plate envelopes were compiled into a list of all the women who left their mark on the collection between 1875 and 1975. Through this list of names, it is revealed that Harvard’s glass plate collection acted as a haven for women who wanted to study the stars, long before they found equality in the field of astronomy.
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Abdul Rahman, Muhammad Azri, and Nadzri Mohd Sharif. "A Constructive Comparison Framework for Colour Vision Deficiency Photographer in Digital Photography." International Journal of Art and Design 7, no. 1 (May 7, 2023): 89–105. http://dx.doi.org/10.24191/ijad.v7i1.1101.
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Color vision deficiency (CVD) is the most common inherited disorder, with 1 in 20 men and 1 in 200 women affected. This situation ultimately gives disadvantages to photographers in digital photography. Individuals who suffer from CVD are unable to relish art since they are confused with objects and their colors. As a necessary consequence, researchers developed a constructive framework to improve CVD photographer visions by incorporating techniques of HSx (Hue, Saturation, Brightness), Contour Adjustment, Interpretation Process into photography. The impact of CVD towards digital photography from the perspective of colour naturalness, consistency, and contrast gained by comparing the differences between normal and CVD artwork. Experiment method is applied, and sampling is purposely selected consists of photographers. The samples meet specific requirements with similar skills. Samples consist of 40 photographers (n=40), and the samples are divided into two groups of Control Group and Treat Group with 20 respondents (n=20). Control group samples are tested with the original image with full instructions while in the Treat group with a different approach of CVD images with limited instructions. Questions consist of Hue, Saturation, Brightness (HSx) Based Method, Contour Enhancement, and Interpretation Process. Research findings assumed; this constructive framework competent in guiding CVD photographers to achieve better colour perception in digital photography.
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Fitzgibbon, Wendy, and Camille M. Stengel. "Women's voices made visible: Photovoice in visual criminology." Punishment & Society 20, no. 4 (March 28, 2017): 411–31. http://dx.doi.org/10.1177/1462474517700137.
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The voices of women subject to the criminal justice system are often ignored and unheard. This article considers the effectiveness of photovoice, a form of participatory photography research, as a visual method of enabling and communicating marginalised women’s experiences in criminological research. By utilising the potentially empowering technique of photovoice in two research projects, the narratives of women who inject drugs in Hungary and women who have experienced supervision in England are conveyed through their own participant-generated photographs. These images convey the pains and aspirations of the participants' lives and show how photovoice is a useful method for visual criminological research and exposes the shared problems faced by two vulnerable populations across two countries in Europe.
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Brower, Matthew. "Photography, Curation, Affect." Journal of Visual Culture 17, no. 2 (August 2018): 177–97. http://dx.doi.org/10.1177/1470412918782354.
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This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use affect to assert the human dignity of her subjects and make their presence visible in a culture that erases them. Dong’s photographic and video documentations of her mail-order bride performances use affect to disrupt and complicate the power relations her performances expose. By situating their works in the exhibition, the article investigates the issues raised by photographic affect for curatorial practice.
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Ugalde, Sharon Keefe. "Photographing Ophelia: Myth and Concept in Eugènia Balcells’s Ophelia (variacions sobre una imatge)." Letras Femeninas 41, no. 2 (November 1, 2015): 35–45. http://dx.doi.org/10.2307/44735028.
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Abstract This essay examines the groundbreaking work of Catalan art photographer Eugènia Balcells’s 1979 black and white series, Ophelia (variacions sobre una imatge) as an act of feminist re-appropriation of one of the most popular subjects of Victorian painting and early photography. Baleei Is reclaims the canonical literary character by reproducing John Everett Millais’s famous Ophelia (1852) in 37 black-and-white photocopies, then manipulating each of the images in ways that both reveal and resist the patriarchal constructs that informed earlier artists’ view of Shakespeare’s heroine as submissive, passive, ethereal-dead, asleep or in a melancholy trance. After a careful historical contextualization of nineteenth century images of Ophelia in painting and in commercial photography, Keefe Ugalde engages in a close reading of a dozen or more of Balcells’s images, explaining how the artist relied on postmodern conceptual art practices to critique, disparage or subvert the ways in which Ophelia served to anchor patriarchal representations of women, and particularly young desirable women, to traditional models of submissive femininity.
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Troeller, Jordan. "Lucia Moholy's Idle Hands." October 172 (May 2020): 68–108. http://dx.doi.org/10.1162/octo_a_00393.
Повний текст джерелаАнотація:
At the time that she was affiliated with the Bauhaus, Lucia Moholy took a series of photographs at the nearby feminist commune of Schwarze Erde (also known as Schwarzerden), which was founded in 1923 by the poet Marie Buchhold and the pedagogue Elisabeth Vogler (and counted among its members Tilla Winz and Ilse Hoeborn). These photographs focus our attention on androgynous hands engaged in prosaic domestic tasks, as well as on the bodies of women and children involved in the commune's radical pedagogy of renewed bodily movement. The centrality of these images in Schwarzerden's publicity materials, along with their subsequent service as models for future photographs (most notably by Ruth Hallensleben), stands in contrast to the lack of appreciation Moholy received for performing similarly domestic labor for her male peers at the Bauhaus, including, above all, her husband, László Moholy-Nagy. By tracing the various ways in which idleness unfolds as a pictorial equivalent of housework, I argue that these images amount to a critique of an avant-garde photographic discourse that privileged “originality” and “production” over “documentation” and “reproduction.” Reading the photographs against the intention of their maker, who herself dismissed their “artistic value,” I propose that in mounting a challenge to artistic authorship, such images render visible the gendered contradictions of New Vision photography.
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Lin, Xuannan. "Feminine Body Writing in Untitled Film Stills." Lecture Notes in Education Psychology and Public Media 3, no. 1 (March 1, 2023): 516–22. http://dx.doi.org/10.54254/2753-7048/3/2022576.
Повний текст джерелаАнотація:
With the rise of postmodernism in the Western world, the development of feminism has gradually revealed the characteristics of postmodernism. Among them, feminine body writing is a good example. However, the academia does not pay much attention to body writing in photography art, which gives some research space for this paper. Therefore, this paper studies Cindy Shermans Untitled Film Stills and uses the theory of feminine body writing which is proposed by Hlne Cixous in The Laugh of the Medusa to explore what Sherman wants to suggest about feminism in Untitled Film Stills. The study has shown that, Cindy Sherman combines feminine body writing with photography, and uses self-direction and selfie to display women trapped in the male gaze, which show her awakening feminine consciousness and her satire on patriarchy. Shermans photographic works play an essential part in the development of feminism.
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Ψαροπούλου, Αθηνά. "ΑΘΗΝΑ ΨΑΡΟΠΟΥΛΟΥ, "Σαν μια νεάνις που φορεί πλατύ φουστάνι": Η εμπειρίκεια επιφάνεια ως σύνθεση μνήμης και φωτογραφίας". Σύγκριση 31 (28 грудня 2022): 99–107. http://dx.doi.org/10.12681/comparison.29873.
Повний текст джерелаАнотація:
“Like a young woman in a loose-fitting dress”: The epiphany of Andreas Embiricos as fusion of memory and photography This paper attempts to shed light on the significance and role of the four “epiphanies of the past recaptured”, which are an integral part of the “analysis” of the poem “8th January 1942” by Andreas Embiricos and derive from the verbal image of the verse “Like a young woman in a loose-fitting dress”. In these epiphanies, time becomes fluctuant and the memory of the past (specifically the memory of four exceptional women-muses of important surrealist creators) is fused with the present experience of the poet. The fourth of them, which embodies Embiricos’ first wife, enlivens the memory of a past event and a photograph. Those two turn into a present reality, in a complete osmosis of the epiphanic object’s unconscious, revealed through the photograph, with the epiphanic subject’s unconscious that perceives it. In effect, spatial time blends with psychological time, as in communicating vessels, revealing the “convulsive beauty” of surreality.
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Surahman, Sigit. "OBJEKTIVIKASI PEREMPUAN TUA DALAM FOTOGRAFI JURNALISTIK Analisis Semiotika pada Foto-Foto Pameran Jalan Menuju Media Kreatif #8." REKAM: Jurnal Fotografi, Televisi, dan Animasi 14, no. 1 (August 15, 2018): 41. http://dx.doi.org/10.24821/rekam.v14i1.2136.
Повний текст джерелаАнотація:
Penelitian ini berfokus pada objektivitas perempuan tua dalam fotografi jurnalistik. Objektivikasi perempuan adalah objek yang menarik karena menjadi sebuah fenomena dalam kehidupan masyarakat. Hampir di setiap media massa, perempuan diposisikan sebagai pelengkap dunia laki-laki. Paras cantik dan keindahan lekuk tubuh perempuan dijadikan sebagai objek seksual. Lain halnya dalam karya fotografi pada pameran “Jalan Menuju Media Kreatif #8”. Dengan analisis deskriptif interpretif berparadigma kritis, penelitian ini bertujuan mendeskripsikan dan menginterpretasikan data yang bersangkutan dengan objektivikasi dan mitos dalam karya fotografi jurnalistik. Variabel penelitian ini adalah fotografi jurnalistik, perempuan, dan komunikasi visual. Terdapat tiga objektivikasi perempuan dalam karya foto jurnalistik ini: pertama, objektivikasi perempuan terletak pada inner beauty; kedua,; perempuan menikmati pekerjaannya sebagai ibu rumah; dan ketiga, perempuan tampil tanpa make up tebal. Mitos kecantikan perempuan terletak pada inner beauty, dalam foto-foto ini disajikan melalui keaslian wajah, profesi, dan ketaatannya. Mitos lain adalah penempatan perempuan yang selalu di wilayah domestik. Dengan demikian, perempuan tidak lagi hanya menghabiskan waktunya untuk berdandan dan bergaya. AbstractObjectification of Elderly Women in Photojournalism: Analysys of Semiotics on the Photographs of ‘Jalan Menuju Media Kreatif #8’. This study focused on elderly women objectivity in photojournalism. The objectification of women is an interesting object because it has become a phenomenon in the society. Almost in every mass media, women are positioned as the complement of men’s worlds. Pretty faces and the beauty of women’s curves are made as sexual objects. There was a difference in the photography exhibition in the event of “Jalan Menuju Media Kreatif #8”. By using interpretative descriptive analysis with critical paradigm, this research aims to describe and to interpret the data related to the objectification and myths in the photography works of photojournalism. The variables of this research are photojournalism, women, and visual communication. There are three objectifications of women in those works of photojournalism; first, objectification of women on their inner beauty; second, women enjoying their work as homemakers; and three, women without thick make-up. The myth of female beauty lies in the inner beauty,therefore in the photographs they were represented through the authenticity of their faces, professions, and obediences. Another myth is the position of women in the domestic sphere. Thus, women did not just spend their time to dress up and to be stylish.
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Pope, Natalie. "Mina Loy, twentieth-century photography, and contemporary women poets." Feminist Modernist Studies 3, no. 3 (September 1, 2020): 310–12. http://dx.doi.org/10.1080/24692921.2020.1821478.
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Leventon, Melissa, and Dale Carolyn Gluckman. "Modernity Through the Lens: The Westernization of Thai Women’s Court Dress." Costume 47, no. 2 (June 1, 2013): 216–33. http://dx.doi.org/10.1179/0590887613z.00000000025.
Повний текст джерелаАнотація:
Photography came to Thailand in the mid-nineteenth century and was adopted first by King Mongkut (Rama IV, r. 1851–1868) and subsequently by his son King Chulalongkorn (Rama V, r. 1868–1910). Earlier reigns had forbidden the creation of images of the king. However, King Mongkut, eager to demonstrate that Siam was a modern state on the world stage, willingly sat for daguerreotype portraits modelled after those of European royalty. These were distributed to foreign visitors to the Thai court and sent as gifts to Western heads of state. King Chulalongkorn, who became an enthusiastic patron of photography and an accomplished amateur photographer himself, commissioned countless portraits of himself and his family, especially the women and children of the court. By the end of his reign, portraits of members of the royal family, especially the women, became routine. These portraits offer an unmatched record of the dress of an otherwise invisible population and served as inspiration for Thailand’s reigning queen in her development of modern court dress. This essay, the first of its kind in English, attempts to chart the changes in court attire from c. 1860–1930, as it gradually evolved from fully Thai to fully Western.
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Bryanton, Olive, Lori Weeks, Elizabeth Townsend, William Montelpare, Jessie Lees, and Lyndsay Moffatt. "The Utilization and Adaption of Photovoice With Rural Women Aged 85 and Older." International Journal of Qualitative Methods 18 (January 1, 2019): 160940691988345. http://dx.doi.org/10.1177/1609406919883450.
Повний текст джерелаАнотація:
Photovoice is a qualitative research method that can have very positive outcomes, including making marginalized populations visible. Yet we found that traditional Photovoice methods were not fully effective and needed to be adapted with women aged 85 and older in rural Prince Edward Island, Canada. Concerns that required adaptation were time constraints for the researcher and participants, taking appropriate photographs, balancing power between researcher and participants, and ensuring that the women’s voices were heard and presented clearly for them and their communities. Our purpose in this article is to enrich conversations on applying and adapting Photovoice as a research method with older, rural women. With Photovoice, the women in our study learned to use digital cameras to take photographs and told stories about how and why they made choices for their photographs and how they depicted how they were supported or limited to fulfill their vision of aging in place. We address the key features of the data collection process that contributed to the effective use of Photovoice with this population, including photography training and ethical instructions, guiding them in a process for identifying their most important photographs, working out methods for engaging them in codifying the photographs, and involving them in knowledge mobilization with policy makers directly. In addition, we present key benefits they reported from participation in the Photovoice process and the value of Photovoice for them in influencing policies on aging.