Дисертації з теми "War images"
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1
Meyer, Christina. "War & trauma images in Vietnam War representations." Hildesheim Zürich New York, NY Olms, 2007. http://d-nb.info/991472861/04.
2
McIntosh, Terresa (Terresa Ann) Carleton University Dissertation Canadian Studies. "Other images of war : Canadian women war artists of the first and second world wars." Ottawa, 1990.
3
Steele, K. D. "Psychophysiological reactions to media images of war." Thesis, University of Nottingham, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372673.
4
Woolson, Ash Kyrie. "Untitled Media Images." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306961851.
5
Wilkinson, Glenn Ralph. "#The blessings of war' : depictions and images of war in Edwardian newspapers, 1899 - 1914." Thesis, Lancaster University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240502.
6
Ketzler, Nancy A. "American Prisoners of the Luftwaffe: images and realities." Connect to online version at OhioLINK EDT Connect to online version at Digital.Maag, 1998. http://hdl.handle.net/1989/3747.
7
Swallow, Andrew Bolton. "The Great War : images of reality in the French novel." Thesis, University of Hull, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305000.
8
Dine, Philip Douglas. "French literary images of the Algerian war : an ideological analysis." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/3544.
Анотація:
The Algerian war of 1954 to 1962 is generally acknowledged to have been the apogee of France's uniquely traumatic retreat from overseas empire. Yet, despite the war's rapid establishment as the focus for a vast body of literature in the broadest sense, the experience of those years is only now beginning to be acknowledged by the French nation in anything like a balanced way. The present study seeks to contribute to the continuing elucidation of this historical failure of assimilation by considering the specific role played by prose fiction in contemporary and subsequent perceptions of the relevant events. Previous research into this aspect of the Franco-Algerian relationship has tended either to approach it as a minor element in a larger conceptual whole or to attach insufficient importance to its fundamentally political nature. This thesis is conceived as an analysis of the images of the Algerian war communicated in a representative sample of French literature produced both during and after the conflict itself. The method adopted is an ideological one, with particular attention being given in each of the seven constituent chapters to the selected texts' depiction of one of the principal parties to the conflict, together with their attendant political mythologies. This reading is primarily informed by the Barthesian model of semiosis, which is drawn upon to explain the linguistic foundations of the systematic literary obfuscation of this period of colonial history. By analysing points of ideological tension in the fictional imaging of the war, we are able to identify and to evaluate examples of both artistic mystification and demystifying art. It is argued in conclusion that the former category of narrative has never ceased to predominate, thus enabling French public opinion to continue to avoid its ultimate responsibility for the war and its conduct.
9
Abu, Bakar Shamsul. "Understanding Attitudes and Perceptions For Civil War Battlefield, Interpretive Images." Diss., Virginia Tech, 2013. http://hdl.handle.net/10919/50642.
Анотація:
Civil War images are important visual records that captured and depict the realities endured by the American people during the Civil War. These images are a powerful visual platform that depicts the vivid representation of past history. Images of Civil War are frequently used as interpretive media, particularly at historic battlefields to enhance the visitor experience and understanding. However, empirical studies of the characteristics of Civil War images that can influence visitors\' experience are limited. Using historic images of Civil War landscapes, this study identified visitors\' preferences and attitudes for Civil War images at five different American Civil War battlefields: Chickamauga and Chattanooga Chickamauga and Chattanooga National Military Park, Shiloh National Military Park, Manassas National Battlefield Park, Antietam National Battlefield, and Gettysburg National Military Park. For this study, the Content Identifying Method (CIM) and eye-tracking technology were used in understanding visitors\' preferences. The results indicate that visitors at historic battlefields prefer images that have a strong sense of active military activities and battle-related action. In addition visitors also preferred images that exhibit a high sense of mystery and are visually complex. The study also revealed that visitor background variables such as gender, age group, and ancestors who fought in the Civil War significantly influence visitor preference for Civil War images. Motivation variables such as interest in learning about "the people," "the military elements," "physical artifacts of the Civil War," and distance travelled to historic battlefields also significantly influence visitor preferences. In term of visitor attitudes towards gruesome images, the majority of the participants believe that these types of images are important visual media that can influence their visitation experience at historic battlefields. Eye-tracking technology was useful in revealing the content that attracted participant attention in some of the images, but not in other images. This study provides information that will be useful to park managers and interpretive designers regarding the characteristics of Civil War images that are important in developing interpretive media for the public and factors that may help in the process of customizing the visitor experience at historic battlefields.Ph. D.
10
Westwell, Guy. "History-in-images/images in history : American cultural memory and film representations of the Vietnam War." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340278.
Анотація:
This thesis charts points of convergence between the fields of historical studies and film studies that generate a line of inquiry which questions how the development and dissemination of film and television have significantly shaped historical conscIOusness. Taking this line of inquiry as a starting point, this thesis identifies the ways in which film (and television) representations have informed American cultural memory of the Vietnam War. The thesis describes how the reporting of the war in newspapers and on television results in the production of a number of vivid and powerful 'nodal images'; these images enable their viewers to locate themselves in relation to the larger event and offer guidance regarding how other representations produced in response to the war might be understood. The thesis goes on to explore how these images play a significant. role in secondary film and television representations, including Hollywood feature films, whereby the initial connotations of the image are recirculated, reenacted and re-scripted. The thesis also indicates how other film representation of the war - such as the film records produced by the American military for tactical and strategic purposes and amateur film produced by American military personnel- are side-lined by the dominance of these nodal images. This study closes by proposing a taxonomy of the key features of these film (and television) representations and profiles the ways in which these features determi~e American cultural memory of the war and mediate historical experience more generally. The conclusion arrived at is that the historical consciousness engendered by these representations encourages the meaning of the Vietnam War to be located in relation to individual phenomenological experience and that the priVileging of this experience above all others marginalises the wider frames of reference - politics, history, economics and so on - which might make that experience meaningful.
11
Stearn, Roger Thomas. "War images and image makers in the Victorian era : aspects of British visual and written portrayal of war and defence c.1866-1906." Thesis, King's College London (University of London), 1987. https://kclpure.kcl.ac.uk/portal/en/theses/war-images-and-image-makers-in-the-victorian-era--aspects-of-british-visual-and-written-portrayal-of-war-and-defence-c18661906(54a3ff6c-de58-4fec-8cc3-672f6f0f4f47).html.
Анотація:
The thesis considers aspects of British perceptions, images and attitudes towards war and defence, and certain key persons who presented them to the public, approximately from 1866 to 1906. It is concerned primarily with leading civilian artists and writers on war and defence, and with the message and images presented by the press, books and pictures, on land warfare more than naval warfare. It considers first the visual images of war in the press and painting, and the press special war artists and the studio battle-painters. It then considers war correspondents and the work and message of two leading correspondents, Archibald Forbes and George Warrington Steevens. It then considers aspects of the warportrayal and message of the fiction of future war. Conclusions drawn include the essential unity of the presented image of war and defence, such that the varied media and communicators mutually reinforced their message. The image was shaped by predetermined selectivity by an ideological cluster of patriotism, imperialism, social darwinism, bellicism and martial values. These so dominated perceptions that the presentations of those with and without battle experience hardly differed. The presentations were purposive and inspirational, warning and urging material and moral preparation. War was presented positively, as heroism and adventure, its horrors minimised and contained. Military and civilians interacted in this presentation, and the communicators were also influenced by factors including continental influences, party politics, journalistic imperatives, artistic and literary convention, and individual careerism. Though pacifists and others dissented from it, the influence of this dominant image of war and defence was pervasive, shaping the assumptions of the pre-1914 nation.
12
Gassner, Patricia. "Icons of war photography : how war photographs are reinforced in collective memory : a study of three historical reference images of war and conflict." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2461.
Анотація:
Thesis (MPhil (Journalism))--University of Stellenbosch, 2009.There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War
13
BEURIER, Joëlle. "Images, violence et masculinités : les presses illustrées française et allemande en Grande Guerre." Doctoral thesis, European University Institute, 2007. http://hdl.handle.net/1814/25494.
Анотація:
Defence date: 10 December 2007Examining Board: Prof. Regina Schulte, EUI (Supervisor) ; Prof. Annette Becker, Université de Paris X-Nanterre (External Supervisor) ; Prof. Christian Delporte, Université de Saint-Quentin-en-Yvelines ; Prof. Heinz-Gerhard Haupt, EUI.
PDF of thesis uploaded from the Library digital archive of EUI PhD theses
14
Arrabai, Ali M. "THE FRANKLIN BOOKS PROGRAM: TRANSLATION AND IMAGE-BUILDING IN THE COLD WAR." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent157305093674886.
15
Smith, Gareth Ross. "The myth of the underdog in press photo images of the Syrian Civil War." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1757.
Анотація:
While the origin of the Arab Spring is well documented in Tunisia, Egypt, Libya and Syria, the role of press photography in presenting these conflicts is not. Images taken during a conflict often follow a particular narrative that comes to define how we remember a conflict. Considering that Syria is composed of a heterogeneous, ethno-religious mix located at the center of intense regional and international rivalries, understanding the cause of the uprising and the trajectory of the conflict require a careful study of the socio-political history of Syria as well as her regional and international relations.
The aim of this study is to demonstrate how photographs taken of the Syrian Civil War that earned critical acclaim from photographic institutions mythologize the war. Semiotics provides a template for the interpretation of images that may be related to the underlying cultural forces shaping the conflict. Myth provides the forms in the presentation of archetypes in the images that we are able to readily identify so rendering the images relevant and recognizable to the viewer.
The mythologizing of images of war has been used since Frank Capa created an “aesthetic ideal” during the Spanish Civil War and been re-appropriated during subsequent conflicts of the 20th and 21st centuries especially the Gulf Wars of 1991 and 2003. This study uses a semiotic and mythological approach to analyze the winning photographs as selected by the National Press Photographers Association, World Press Photographers Association and Pulitzer Prize awarded during the course of the Syrian conflict.
The myths of the “victim” and “underdog” were the two most commonly applied myths to the civilians and the Syrian rebels, who were portrayed as the “lovable losers” in the conflict. These narratives differ from previous depictions of the two previous Gulf Wars in their empathetic depiction of the civilian population and of the rebels.
If maintaining the status quo is one of the enduring functions of myth then the underdog myth perpetuates voyeuristic participation in the conflict without requiring the discomfort of the removal of the Assad regime.
16
Laurens, Corran. "La femme au turban : images of women in France at the Liberation." Thesis, University of Southampton, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295697.
17
Rich, Philip. "The culture of cruising : Post-war images form the NMM'S film archive." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527202.
Анотація:
This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture This thesis examines a film collection held at the National Maritime Museum, Greenwich and seeks to establish the historical, cultural and aesthetic legacy of the post-war promotional cruise film. The textual and contextual analysis reveals the cruise film's unique reflection of an era of ideological, social and stylistic change. The thesis establishes an institutional and aesthetic history of the cruise film, focusing on the output of Orient Line, P&O, Union Castle and Cunard. The circumstances surrounding production of promotional material are explored, along with the ideological, commercial and stylistic legacy of the British Documentary Movement and British Transport Film initiative. Prototypical pre-war examples of the form are foregrounded and compared to the films produced through the 1960s. Alongside the cruise film's commercial and aesthetic origins, the thesis explores the image of the ship itself, as an eternal signifier of progress, divinity and nation. The cultural history of the ship as a signifier is traced alongside the visual discourses used to picture it within the cruise film. The 1960s cruise ship and its filmic representation is examined as a floating microcosm of emergent hedonistic and capitalistic tendencies. In an era of empowerment, liberation and increasing individualism, the cruise film balanced the traditional with the contemporary in its sometimes conflicted portrayals of life at sea. The final chapter of the thesis is devoted to the cruise film's reflection of fading British colonialism. As the British Empire fragmented and political liberalism spread throughout a new generation of young people, the cruise film's latent traditionalism and nationalism became anachronistic. Yet, beneath its swinging '60s aesthetic, the post-war cruise film continued to market its product as an implicit emulation of the colonial process. In conclusion, light is shed on the cruise film's paradoxical position, as advertisers sought to retain the allure of the ocean voyage in an era of mainstream jet travel.
18
Templer, Rachel Marie. "Love, friendship and images citizenship and necessity in Thucydides and Plato /." Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/453941770/viewonline.
19
Reyburn, Karen Ann. "Blurring the boundaries, images of women in Canadian propaganda of World War I." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ35925.pdf.
20
Boulting, David John. "'Garden of Evil': Images of the enemy in American war literature 1962 - 1990." Thesis, University of Salford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490164.
Анотація:
The following thesis interrogates representations of the enemy in three American war novels: James Jones's The Thin Red Line (1962), Larry Heinemann's Paco's Story' (1986). and Tim O'Brien's The Things They Carried (1990). While American literary responses to the Vietnam War are the primary concern of this thesis. The Thin Red Line, a 'late' World War II novel, is interrogated as a generic benchmark against which the two Vietnam novels can be compared and contrasted, both in terms of the paradigms of Japanese and Vietnamese enemy images, and with reference to the depiction of internal enemies.
21
Mott, Thomas. "Images, imagination and impact: war in painting and photography from Vietnam to Afghanistan." Monterey, California: Naval Postgraduate School, 2013. http://hdl.handle.net/10945/34709.
Анотація:
Approved for public release; distribution is unlimitedWar is a recurring motif in the visual arts. The link in politics and the arts between culture and conflict is especially important in age of global communications and political participation, in which both the symbols of conflict and the efforts via mass persuasion to counteract the political effects of such symbols have assumed considerable power. In Germany and the United States, the relationship of society to war forms a perennial theme as both societies probe at the tension between conflict and culture. The experience of these two nations is closely linked and yet characterized by contrasts as well as noteworthy similarities. This thesis examines how the artistic depiction of war in artspecifically painting and photographyhas developed in Germany and the United States in the last several decades, using the example of the Vietnam War and NATOs mission in Afghanistan as case studies. The thesis concludes that the images of war significantly influence the discourse and civil-military relations in each society. In their turn, these images of war contribute substantially to the shaping and forming of public opinion and can lead to political change.
22
Kertesz, Margaret. "The enemy : British images of the German people during the Second World War." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332017.
23
Saglia, Diego. "Images of Spain in British romanticism : poetic narratives of cultural difference (1808-1814)." Thesis, Cardiff University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287769.
24
Waters, Raymond. "Relocation of culture : American images of Japan 1945-1994." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2291.
Анотація:
My dissertation investigates American images of Japan in the aftermath of World War Two. My premise: Japan represents America’s last clear victory, militarily and culturally. In the decades since the cessation of active hostilities, Japan has served in the American regard as an Other that reinforces and perpetuates an American mythos that is rooted in masculine narratives that depict righteous, regenerative violence.
I emphasize images that legitimate American excesses during World War Two, reflecting earlier “Yellow Peril” periods of anti-Japanese immigration scares. American excess is sanitized during the SCAP Occupation period, after which American—and ancillary—images posit Japan as an exoticized site for Western self-affirmation. Japan remains thus marginalized until the late eighties, at which point Japan’s burgeoning economic power engenders American images that regress to the demonization of wartime propaganda.
My hope for the dissertation is to assert American images of Japan as a negative paradigm. The example of how Japan has been manipulated for American purposes should be considered cautionary. America must be concerned about the ramifications of its continued reliance on a mythos narrative of redemptive masculine violence. The relocation of Japanese culture may prove prescient if America does not learn how to deal more appropriately with other Others that do not conform to America’s mythos-based Self-sustaining narrative.
25
Clark, Sarah. "THE POPULAR IMAGES OF JOHN BROWN AND THOMAS "STONEWALL" JACKSON." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3816.
Анотація:
This study examines the evolution of the popular images of John Brown and Thomas "Stonewall" Jackson. It begins by analyzing the historiography of each man. The second and third chapters are biographies of each man. The fourth, fifth, and sixth chapters examine the popular images of the two men in print media, visual media, and monuments. This thesis concludes with appendices which contain reproductions of songs, photographs, and paintings referred to in the chapters. This study finds that the myth of the Lost Cause has kept Thomas Jackson's popular image consistently positive and heroic since his death in 1863. At the same time, this myth has contributed to an ever-changing image of Brown, though other issues, such as race and terrorism, have played significant roles as well. Brown has at various times been considered a madman, a saint, and merely a product of his times. Because the Lost Cause continues to pervade popular memory of the Civil War, Jackson's image is unlikely to change quickly. Because race and the fear of terrorism continue to pervade American society, Brown's image is likely to remain controversial.M.A.
Department of History
Arts and Humanities
History MA
26
Fahmy, Shahira. "Many images, one world : an analysis of photographic framing and photojournalists' attitudes of war and terrorism /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099617.
27
Waggener, Diana Marie. "Media use of the American flag in images during times of armed conflict a visual semiotic analysis /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798481051&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
28
Geigenberger, Laura. "“Seeing is believing ... ?” An exploration of photojournalism in war reporting and its conceptualization within the scope of War and Peace Journalism." Thesis, Södertörns högskola, Journalistik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-40884.
Анотація:
Journalism is a profession which bears many social and political responsibilities. Particularly war correspondence is a challenging task for professional journalists and thus constitutes a decisive part in the academic field of Journalism Studies. In order to evaluate the role of journalitic conduct in times of war, it is commonly dichotomized into two opposing concepts known as War and Peace Journalism. The concepts are most often studied in connection with text-based journalism which is why scholars have been stressing the need to create a similar conceptualization for photojournalism – a profession with a great relevance in war correspondence. First research approaches resulted in models such as War and Peace Photography which, however, only considered the visual contents of photojournalistic documents. Yet, particularly the legacy of images can be dynamic – hence, subject to change over long periods of time – and consequently alter the reception and categorization of a news photograph as either a War and Peace document. Thus, the aim of this thesis is to explore the notion that many different aspects need to be taken into account before a fair and productive categorization of such documents can be offered. In addition to the method of visual analysis, it thus entails anempirical study in a triangulation setting in which photojournalistic material on the Vietnam War, the picturesʼ captions as well as their additional documentary material regarding the broader historical and political (e.g. published interviews, governmental documents, articles) will be analyzed in three consecutive steps: (1) The photos are assessed in terms of their War or Peace classification based on their visual impression; (2) the captures are analyzed content-analytically and put in relation with the visual observations; (3) the additional documentary material is explored to understand the picturesʼ social, political, and historical genesis. For the purpose of the latter, a new category system has been defined and assigned to the sample images. Findings indicate that a visual categorization of an image are not necessarily supported by its captions as well as the respective surrounding historical, political and social circumstances. Additionally considered context might contrast the most basic definitions of War and Peace Journalism. For example, the assessed cases of War Photojournalism were not used for “propaganda” purposes – an often-ascribed feature of War Journalism. From this, it can be concluded that visuals are only one of many factors which can impact the meaning and reception of an image and, as a consequence, its categorization. Sufficient conceptualizations of photojournalistic documents should thus consider not only what is obvious but also the experiences, actions, professional values and intentions of photojournalists within the images’ prehistory and aftermath, reasons for their publication, their reception by an audience, and external influences on their respective medium.
29
Glover, Margaret. "Images of peace in Britain : from the late nineteenth century to the Second World War." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249642.
Анотація:
From 1816 onwards, British peace campaigners used a variety of art, artefacts and spectacle to advertise their aims and indicate their presence. This historical review examines issues surrounding the production and display of visual peace propaganda by national and local organizations, and by individual members including artists. The focus is on the period 1900 to1940, although earlier and later material is included. Many of the themes and issues are still current today. The aims of this research were diverse and therefore this thesis adopts a variety of approaches, drawn from peace history, art history and ephemera studies. The perspective wherever possible is that of the campaigners themselves, including perceived successes and failures. Aesthetic qualities and iconography are also addressed however, particularly when examining the work of professional artists. Chapter 1 uncovers the history of Quaker peace posters produced for national and local use, including the images and messages on them, how they were displayed, and by whom_ Chapters 2 and 3 analyse issues surrounding the indoor and outdoor campaigning of the lively peace movement of the 1930s, which from the middle of the decade was centred on the Peace Pledge Union. Examples of governmental, public and private censorship appear, arising from such diverse activities as wearing a white poppy or displaying a peace poster. Included are descriptions of peace shops, amateur and professional peace exhibitions, poster parades and the work of selected cartoonists. Chapters 4 and 5 examine the peace images and organizational involvement of two artists of national importance whose lives spanned the period covered. Joseph E.Southall, a Quaker tempera artist, was involved with socialism. Eric Gill, sculptor, engraver and typographer, helped to found Pax, the first organization for Catholic pacifists, and was on Peace Pledge Union national committees. The Conclusion states that the majority of campaigning activities took place at local rather than national level. Designs and images were produced by both amateur and trained artists and were therefore of varying quality. There was a preferred avoidance of war images — yet difficulty in establishing an iconography of peace, at a time when the use of allegorical personifications was declining. Volume 2 contains approximately five hundred illustrations.
30
Formadi, Tunde. "Images of the US during the Cold War: media discourse in the UK 1956-1986." Thesis, Anglia Ruskin University, 2012. https://arro.anglia.ac.uk/id/eprint/294450/3/Images%20of%20the%20US.pdf.
Анотація:
This thesis explores how the local media in East Anglia portrayed the US military presence
during the Cold War at times of international crisis. It aims to assess this portrayal in
comparison with national media images and critically interrogates the socio-political,
economic and cultural reasons for it. This media related study contributes to Cold War
historiography and the historiography of the USAF.
Research was mainly archival, based on discourse analysis and comparative focusing on
the official discourse of the Cold War and the news media. Central to the research were the
written records of the British government and articles in appropriate newspapers issued
near American airbases. The region of East Anglia was selected for its strategic location
and large number of military bases, and data collection focused on selected periods of
international crisis due to their impact on media coverage.
The examination of newspaper articles identified a wide range of images with some
recurring from time to time while others remain specific to certain periods. Findings
suggest that local economic as well as political interests played a role in shaping the
images of the US presence in the local media, and it could be argued that there is a
correlation between the conservative landscape of the region and the newspaper articles’
overwhelming tolerance or at least acceptance of the US presence, which is in line with
conservative governmental discourse in all periods of crisis explored. However, the articles
– and in particular the readers’ letters to the editors – also highlight that there were strong
debates between supporters and opponents of the American presence, and this debate blurs
the boundaries of political parties, i.e. in certain periods there are also strong opponents in
the conservative camp.
31
Rose, Kathryn Ann. "IMAGES OF CIVIL CONFLICT: ONE EARLY MUSLIM HISTORIAN’S REPRESENTATION OF THE UMAYYAD CIVIL WAR CALIPHS." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1323655921.
32
Naito, Hiroaki. "Vietnam fought and imagined : the images of the mythic frontier in American Vietnam War literature." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5101/.
Анотація:
This thesis seeks to examine how a particularly American ideological formation called the frontier myth has been re-enacted, challenged, and redefined in the literary works written by several American authors. Existing researches about the pervasiveness of the frontier mythology in American culture written by scholars such as Richard Slotkin, Richard Drinnon, and others demonstrate that, as the myth of the frontier–––the popular discourse that romanticizes early white settlers’ violent confrontation with American Indians in the New World wilderness–––has been deeply inscribed in America’s collective consciousness, when they faced with the war in a remote Southeast Asian country, many Americans have adopted its conventional narrative patterns, images, and vocabulary to narrate their experiences therein. The word, Indian Country–––a military jargon that US military officers commonly used to designate hostile terrains outside the control of the South Vietnamese government–––would aptly corroborate their argument. Drawing upon Edward Said’s exegesis of a structure of power that privileged Europeans assumed when they gazed at and wrote about the place and people categorized as “Oriental,” I contend that the images of the frontier frequently appearing in US Vietnam War accounts are America’s “imaginative geography” of Vietnam. By closely looking at the Vietnamese landscapes that American authors describe, I intend to investigate the extent to which the authors’ view of Vietnam are informed, or limited, by the cultural imperatives of the myth. At the same time, I will also look for instances in which the authors attempt to challenge the very discourse that they have internalized. I will read several novels and stories of American Vietnam War literature in a loosely chronological manner––from earlyier American Vietnam novels such as William Lederer’s and Eugene Burdick’s The Ugly American (1958), through three notable Vietnam–vet writers’ works published between the late ’70s and ’90s that include Tim O’Brien’s Going After Cacciato (1978) and The Things They Carried (1990), to Denis Johnson’s Tree of Smoke (2007), a recent novel produced after 9/11. Hereby, I aim to explain the larger cultural/political significances that underlie the images of the frontier appearing in American Vietnam War narratives, and their vicissitude through time. While the authors of early US Vietnam War narratives reproduced stereotypical representations of the land and people of Vietnam that largely reflected the colonial/racist ideologies embedded in the myth, the succeeding generations of authors, with varying degrees of success, have undermined what has conventionally been regarded as America’s master narrative, by, for instance, deliberately subverting the conventional narrative patterns of the frontier myth, or by incorporating into their narratives the Vietnamese points of view that have often been omitted in earlier US Vietnam War accounts.
33
Formadi, Tunde. "Images of the US during the Cold War : media discourse in the UK 1956-1986." Thesis, Anglia Ruskin University, 2012. http://hdl.handle.net/10540/294450.
Анотація:
This thesis explores how the local media in East Anglia portrayed the US military presence during the Cold War at times of international crisis. It aims to assess this portrayal in comparison with national media images and critically interrogates the socio-political, economic and cultural reasons for it. This media related study contributes to Cold War historiography and the historiography of the USAF. Research was mainly archival, based on discourse analysis and comparative focusing on the official discourse of the Cold War and the news media. Central to the research were the written records of the British government and articles in appropriate newspapers issued near American airbases. The region of East Anglia was selected for its strategic location and large number of military bases, and data collection focused on selected periods of international crisis due to their impact on media coverage. The examination of newspaper articles identified a wide range of images with some recurring from time to time while others remain specific to certain periods. Findings suggest that local economic as well as political interests played a role in shaping the images of the US presence in the local media, and it could be argued that there is a correlation between the conservative landscape of the region and the newspaper articles’ overwhelming tolerance or at least acceptance of the US presence, which is in line with conservative governmental discourse in all periods of crisis explored. However, the articles – and in particular the readers’ letters to the editors – also highlight that there were strong debates between supporters and opponents of the American presence, and this debate blurs the boundaries of political parties, i.e. in certain periods there are also strong opponents in the conservative camp.
34
Gillett, Philip John. "British feature films and working-class culture, 1945-1950." Thesis, London Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323403.
35
Nielson, Alec Brittney. "Capturing War and Bringing It Home: How Photojournalism and Iconic Images Affect Public Opinion During Wartime." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/146630.
Анотація:
A historical analysis indicates that photographs taken during wartime affect public opinion. This seems to be especially true in regard to photographs that have gained iconic status. This study examines the relationship between patterns of war coverage and public opinion during the Iraq War. Through a coding system, the study uncovers reoccurring themes in photographs, measures the emotions depicted in the images and counts the graphic images published. The research pays particular attention to the relationship between iconic images and the public's support, or lack thereof, for the war. While the results of the study were not able support a definitive relationship between public opinion and photographic coverage, they did suggest a potential relationship. The results found in this study should be used to further study the impact of iconic images on public opinion.
36
Jackson, Wesley Todd Jr. "Verwesung und Werden: Images of Violence and Conversion in Alfred Döblin's Wallenstein." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1222791933.
37
Peixe, Rita Inês Petrykowski. "Imagens que (re) constroem história : alegoria e narratividade visual da guerra sertaneja do contestado." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/139418.
Анотація:
Esta tese tem como foco de estudo as narrativas visuais sobre a Guerra Sertaneja do Contestado (Brasil 1912-1916). Trata-se de um importante fato para História do estado de Santa Catarina e para o Brasil, o qual é apresentado através de imagens por diversos artistas. O objeto de pesquisa constituiuse a partir do levantamento da produção visual sobre esta temática. Buscou-se problematizar como imagens artísticas que tematizam a Guerra Sertaneja do Contestado controem esse acontecimento histórico através de suas narratividades e alegorias visuais e que significados desse acontecimento elas produzem. O referencial teórico abarca autores do ensino da arte, da cultura visual e da História Cultural para refletir, a partir das imagens presentes no corpus documental sobre a Guerra Sertaneja do Contestado, de que maneira elas (re) constroem alegórica e narrativamente esse fato. A metodologia envolveu contato com artistas e instituições responsáveis pela guarda das obras. Foram obtidos dados biográficos e recolhido o material imagético (fotográfica/digitalmente) sendo compilado e organizado para estudo das possibilidades reflexivas oferecidas pelas imagens, considerando ainda as referências para sua produção (livros ou imagens que as originaram), bem como os seus processos artísticos. O levantamento resultou em doze artistas e um número superior a mil obras (de 1912 a 2011), possibilitando informações importantes sobre sua trajetória, bem como a organização de um significativo acervo que tem como tema a Guerra Sertaneja do Contestado A análise desta ampla e variada produção artística enfocou os seguintes assuntos narrativos: Aspectos gerais (região do Contestado, paisagem e ambientes); Personagens (e suas ligações com o conflito); Contexto da Guerra: organização e Ações militares contra os redutos e Desfecho do episódio. Os resultados apontam que a reiterada veiculação de imagens nos materiais que tratam sobre o acontecimento apresenta disparidades, principalmente quanto à sua utilização, meramente como recurso editorial ou para aludir ao fato, sem preocupação reflexiva. Concluiu-se que utilizando variadas referências imagéticas, linguagens, estilos e processos criativos, os artistas construíram diferentes efeitos de sentido, possibilitando a reconstrução da História da Guerra Sertaneja do Contestado sob distintas formas alegóricas e narrativas.This thesis focuses on the study of visual narratives about the Guerra Sertaneja do Contestado (Brazil 1912-1916) (the backcountry war in the area of Contestado), an important historical event for the constitution of the state of Santa Catarina and for the Brazil This episode was the subject matter for many artists. Hence the need for a survey of the visual production about this theme. What the visual narratives tell about the Contestado War, how they “show” it, and which meanings they construct are the main questions faced in this research. Its theoretical framework includes authors from the art studies, visual culture and cultural history, with the aim to think about how the images that are part of the documental body on this war (re)construct this fact. All the biographical information and the images (photographs taken on the field and/or acquired through the Web) were obtained through a close exchange with the artists and the institutions responsible for their art works’ preservation. They were then compiled and organized for the study of the reflective possibilities offered by the images themselves, taking in account the possible references for its production (books and/or other images), and for the analysis of its own processes. This survey resulted in a group of twelve artists and in a body of works of more than a thousand items (1912 to 2011), a veritable art collection on the theme of the Contestado War. The analysis of this ample and variegated art production focused on the following themes: General Aspects (the Contestado area, landscape and natural and social environment); Main Characters (and their role in the conflict); War Context: The Organization And The Military Actions Against The Strongholds; and Outcome of the Episode The results show that the diffusion of the images about the war, in the books that treat the theme, shows disparities, especially when they are used as a simple layout resource/editorial expedient or as a vague allusion to the episode without any reflective concern. The analysis of the art processes has made possible many interesting inferences and reflections. With the support of numerous images, the research concluded that the artists’ different idioms, styles and creative processes constructed different effects and meanings, making possible the reconstruction of the Contestado War under different allegorical and narrative forms.
38
Periwal, Sukumar. "The uses of diversity : images of the other in the Enlightenment critique of war and the absolutist state." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239424.
39
Mahony, Edel. "'A place in England called Australia' : popular images and perceptions of Australia in inter-war Britain Edel Mahony." Thesis, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402081.
40
Perez, Morales Junior Wagner. "Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA101/document.
Анотація:
En partant de l’idée que la guerre et les images sont deux notions interdépendantes, la thèse reprend deux concepts clés : visualité et contre-visualité. La visualité, étant une façon de perpétuer la guerre, représente les discours dominants. L’art contemporain serait donc une possibilité de construction de contre-visualités. La « guerre globale » contemporaine - totale et dispersée - aurait une production visuelle qui lui correspondrait : des images d’amateurs, elles aussi dispersées et de grande circulation. Comment ces images, généralement liées à la sphère privée, se sont converties en enregistrements de la guerre contemporaine ? Comment l’art fait face à la guerre et à la visualité dominante par le biais du remploi de ces images ? La recherche essaie de définir cette production d’images « amateur » et de l’encadrer dans le temps conflictuel du présent. Une telle production serait-elle une résistance à la visualité actuelle ou au contraire quelque chose qui la renforce ? Ensuite, à travers un corpus circonscrit de quatre artistes visuels contemporains (Clarisse Hahn, Rabih Mroué, Coco Fusco et Thomas Hirschhorn), nous travaillons l’hypothèse que la réutilisation de ces images peut contribuer à la construction d’une contre-visualité : par le geste artistique, l'enlèvement de ce matériau d'un certain flux provoquerait un arrêt, une déviation vers une reconfiguration du sensible où le facteur conflictuel serait mis en évidence. Dans un troisième moment, la thèse se penche sur l'œuvre des années 1970 de Jean-Luc Godard et Anne-Marie Miéville, quand ils interrogent les forces et les faiblesses du cinéma militant et mettent en question les images et leurs potentialités. Certaines de leurs procédures créatives sont examinées rétrospectivement, car à notre avis, elles sont toujours présentes directement ou indirectement dans la pratique artistique des artistes de notre corpusConsidering the idea that war and images are two interdependent concepts, the thesis deals with two key concepts: visuality and counter-visuality. Visuality as a way of perpetuating the war represents dominant discourses. Contemporary art would therefore be a possibility of constructing counter-visuality. The contemporary “global war” - total and dispersed - would have a visual production that would correspond to it: the amateur images, also scattered and widely circulated. How are these images - usually related to the private sphere - converted into records of contemporary war? How does art face war and the dominant visuality by utilizing these images?The research attempts to characterize this amateur production of images and to frame it in the conflicting time of the present. Would such a production be a resistance to the current visuality or, on the contrary, something that strengthens it? From then on, by analyzing a circumscribed corpus of four contemporary visual artists (Clarisse Hahn, Rabih Mroué, Coco Fusco and Thomas Hirschhorn), we work on the hypothesis that the reuse of these images can contribute to the construction of a counter-visuality: by the artistic gesture, the removal of this material from a certain flow would cause a stop, a deviation towards a reconfiguration of the sensible where the conflicting factor would be highlighted. In a third moment, the thesis looks at the work of Jean-Luc Godard and Anne-Marie Miéville on the 1970s, when they question the strengths and weaknesses of militant cinema and challenge images and their potentialities. Some of their creative procedures are examined in retrospect because in our opinion they are still directly or indirectly present in the artistic practice of the aforementioned artists
41
Vas, Laura Terezia. "Competing Cityscapes: Architecture in the Cinematic Images of Postwar Berlin." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1184609075.
42
Xu, Yan. "War Heroes: Constructing the Soldier and the State in Modern China, 1924-1945." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357130680.
43
Lindqvist, Linda. "Views of the Ending of the Cold War : A case study that compares multimodal images in Swedish newspapers and history textbooks." Thesis, Stockholms universitet, Institutionen för mediestudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-77701.
Анотація:
This study compares how newspaper yearbooks and current upper secondary school history textbooks represent the Cold War between the years 1985-1991. As earlier research, this multimodal study focuses discourses and images. In addition I examine the usefulness of mediatization as illuminating tool in this context. For these aims, I have constructed a three-step model, in which concepts from mediatization theory are operationalized, and combined with Theo Van Leeuwen’s social semiotic theory. This thesis compares 356 representations from two yearbooks to 16 ones from three textbooks. At present, historical images are neither addressed nor regulated in the national curriculum, yet both educators and researchers within the field of education address them. The contribution of this paper is hence to shed light on the complexity of images, which shows how their meanings, including degree of mediatization, depend on context. Thereby I add a new aspect to multimodal literacy research.
44
Fraga, Joana Margarida Ribeirete de. "Three revolts in images: Catalonia, Portugal and Naples (1640-1647)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/664390.
Анотація:
The dissertation “Three revolts in images: Catalonia, Portugal and Naples (1640-1647) is about the role of political visual communication during the revolts of 1640-1647 in Catalonia, Portugal and Naples. Visual sources played an important part in the development of these conflicts, since a high percentage of the population was illiterate. Images such as engravings and paintings were commissioned to local and international artists in order to reproduce the different messages of the two parties in conflict and displayed in public places and in ceremonies. Often, a third part –such as France – participated in the image making process, contributing with her own visual arguments. In my dissertation I aim to answer such questions as: who commissioned these images? Who was their intended audience? Which reactions did they provoke? Which messages can we perceive in them? And how did the visual communication contribute to these conflicts?
I argue that it was important to study these three revolts as part of a common event, the Thirty Years’ War. By doing so, one presupposes that the revolts were not isolated conflicts, and therefore they might present similar characteristics when it comes to legitimating arguments, causes, policies and consequences. Indeed, the comparative approach allowed me to detect possible common intersections and interpret the three revolts as part of the same cultural and political conjecture. Despite the dangers of this methodology and the inevitable constant tension that it creates between generalizations and idiosyncrasies, it enabled me to establish that visual arguments were not exclusive to a certain territory. Indeed, I identified traces of a common culture as well as three general strategies employed in all the cases examined: the construction of a hero, the use of religious images (which obtain a new political dimension) and the employment of narrative images. My findings show that two significantly different characters such as D. João de Braganza, a member of the most important aristocratic house in Portugal, and Masaniello, a humble fisherman from Naples, were transformed into heroes by using the same arguments (nobility of character, bravery, etc.). Regarding Catalonia, it was significant to discover that a similar protagonist could not be found. The early and ambiguous death of Pau Claris, the responsible for proclaiming the Catalan republic under the protection of France in 1641, prevented the Catalan authorities from publicizing his heroic image. In addition, the religious arguments were common to all three territories, as the local saints were politicized and converted into legitimating arguments for rebellion.
I also focused my research around questions concerning the rituals and behavior of the populations affected by the revolts. Was the violence justified? Did it obey to a certain code? How did the people react to the events? Are there similarities in the three territories? For example, acts such as the defenestration of the secretary Miguel de Vasconcelos in Portugal responded to a political culture and to a code of punishment, to which people knew how to respond. In Naples, the violence perpetrated by Masaniello was composed by several ritual elements that could be identified by Neapolitans.Esta tesis tiene como objetivo analizar el papel de la comunicación política visual durante las revueltas de 1640-1647 en Cataluña, Portugal y Nápoles. Las fuentes visuales han jugado un papel de gran importancia en el desarrollo de los conflictos armados, sobre todo si tenemos en cuenta que un elevado porcentaje de la población no sabía leer ni escribir. Imágenes, entre las cuales grabados y lienzos, eran encargados a artistas locales e internacionales de forma a reproducir los mensajes de las dos partes participantes en el conflicto. Éstas eran a menudo exhibidas en lugares públicos y durante las ceremonias. Por veces, una tercera parte – como por ejemplo Francia – participaba en el proceso de producción y difusión de imágenes contribuyendo con sus propios argumentos. En esta tesis he querido responder a preguntas como: ¿quién encargaba las imágenes? ¿Quién era el público? ¿Qué reacciones provocaron? ¿Qué mensajes contenían y cómo fueron percibidos? ¿Cómo contribuyó esta forma de comunicación a los conflictos en causa? Argumento también la importancia de estudiar las tres revueltas como parte de un evento único, la Guerra de los Treinta Años. Al hacerlo, uno va más allá de asumir que se tratan de conflictos aislados y que, como tal, pueden presentar características parecidas en lo que dice respecto a los argumentos que legitimaban las causas, políticas y las consecuencias de las insurrecciones. Este abordaje comparativo me permite detectar posibles intersecciones e interpretar las revueltas como compartiendo una cultura común y de una misma conjetura política. Pese a los posibles peligros de esta metodología y a la inevitable tensión que crea entre generalización e idiosincrasias, me permitió establecer hasta qué punto ciertos argumentos eran – o no – específicos a un territorio. Por fin, me dedico también a analizar cuestiones relacionadas con ritual y comportamiento por parte de las poblaciones afectadas. ¿Era la violencia justificada? ¿Obedecía a un ritual previamente establecido? ¿Cómo reaccionaban las gentes? ¿hay similitudes entre los tres territorios?
45
Al-Aulaqi, Nader. "Arab-Muslim views, images and stereotypes in United States." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2275.
46
Edwards, Jason Allen. "Foreign Policy Rhetoric for the Post-Cold War World: Bill Clinton and America's Foreign Policy Vocabulary." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04242006-093224/.
Анотація:
Thesis (Ph. D.)--Georgia State University, 2006.Title from title screen. Mary E. Stuckey, committee chair; David Cheshier, Carol Winkler, James Darsey, Daniel Franklin, committee members. Electronic text (297 p.) : digital, PDF file. Description based on contents viewed Apr. 26, 2007. Includes bibliographical references (p. 255-297).
47
Musser, William G. "Terminating America's wars : the Gulf War and Kosovo." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02Jun%5FMusser.pdf.
48
Moroz, Nataliia. "Patrimoines, patrimonialisation, dépatrimonialisation : quelles images et quelles pratiques touristiques pour l'Ukraine ?" Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE2030.
Анотація:
L’Ukraine, objet et terrain d’études, revêt un double enjeu, à la fois scientifique et opérationnel. Ce pays qui reste encore peu attractif pour les clientèles européennes pour ses ressources touristiques et patrimoniales, souhaite embrayer afin d’améliorer son positionnement sur le marché touristique en s’inspirant des pratiques et des expertises françaises. Il y a donc dans cette recherche doctorale deux volets qui sont nécessairement articulés : un premier de connaissance et d'analyse des systèmes touristiques et patrimoniaux ukrainiens, un second de propositions – à partir des savoir-faire français - destinées à participer aux recherches ukrainiennes en la matière. Le contexte géopolitique actuel du territoire ukrainien depuis novembre 2013 et son aggravation durant la période 2014–2015 a influé sur le déroulement et les terrains pressentis mais plus encore sur le cadre des problématiques initialement posé. Celui-ci, centré sur les stratégies du secteur touristique ukrainien à partir de l’exemple de 4 territoires dont la Crimée, a été réorienté de fait vers l’étude du patrimoine culturel comme ressource touristique ukrainienne visant le développement d’un nouveau segment touristique. Pour identifier des points d’attractivité touristique en Ukraine pour les touristes étrangers et les marqueurs territoriaux nécessaires à l’établissement d’un tourisme de niche, deux approches sont mobilisées. Se donner les moyens de définir objectivement "l’image" du pays et de ses territoires pour en caractériser les éléments patrimoniaux susceptibles de concourir à une meilleure visibilité ukrainienne. Ces approches ont nécessité la délimitation pertinente et l’analyse de plusieurs corpus : guides et brochures touristiques, listes du patrimoine culturel classé, questionnaires auprès de touristes. Les changements et tensions géopolitiques en Ukraine ont singulièrement perturbé l'accès aux données : certaines d'entre elles ont totalement disparu. Il s’agit en premier lieu des statistiques touristiques de certains territoires en tension (régions de Donetsk, Luhansk, de la Crimée). De surcroît, les listes du patrimoine culturel classé ont subi des transformations suite aux lois dites de « désoviétisation », entrainant la suppression des listes patrimoniales de la période soviétique. Cette « dé-patrimonialisation » a également concerné certains monuments et objets patrimoniaux considérés comme « portant l’idéologie du régime communiste ». Finalement, cette difficulté d'accès à des sources comparables dans la durée à l'échelle nationale comme le mouvement de dépatrimonialisation officielle ont conduit à un repositionnement partiel de la problématique, anciens et nouveaux patrimoines mobilisant autrement la question de la mémoire et de l'identité ukrainiennes. L’approche diachronique utilisée dans l’explication des évolutions touristiques et patrimoniales institutionnelles a été mise en perspective sur un temps plus long. C'est ainsi que l'exploration et l'analyse des guides touristiques depuis le début du XXème siècle a permis de resituer plus largement les représentations et discours touchant au fait touristique et donc à l'identité ukrainienne par l'intermédiaire de ses patrimoines. Un travail de représentations des données – graphiques, tableaux synoptiques, cartographies – a été effectué pour mieux visualiser les éléments comparatifs, dans leurs diachronies comme dans leurs spatialisations. Il a nourri un diagnostic mettant en évidence les disparités relatives aux flux touristiques, aux marqueurs territoriaux comme aux objets patrimoniaux classés. Ces analyses induisent quelques préconisations pour la mise en place d’un tourisme de niche, centré sur l'articulation des offres touristico-patrimoniales, en fonction de données statistiques accessibles mais en conservant un souci de vigilance quant à leur fiabilitéUkraine, as an object and a field of study, has a double challenge, both scientific and operational. This country, remaining still unattractive to European customers for its tourist and heritage resources, wishes to embark on a process of improving its positioning on the tourist market by drawing inspiration from French practices and expertise. This doctoral research therefore has two necessarily interlinked components: firstly, the study and analysis of Ukrainian tourism and heritage systems, and secondly, the proposals based on French know-how, intended to participate in Ukrainian research in this field.The current geopolitical context of the Ukrainian territory since November 2013 and its worsening during the 2014–2015 period has influenced the development and the established areas, but even more in the context of the problems initially posed. That development, initially focused on the strategies of the Ukrainian tourism sector starting from the example of 4 territories including Crimea, in fact was reoriented towards the study of cultural heritage as an Ukrainian tourist resource in order to develop a new tourist segment.Two approaches are used in order to identify points of tourism attraction in Ukraine for foreign tourists and the territorial markers necessary for establishing niche tourism. The first one is to find the means to objectively define the "image" of the country and its territories; the second one is to characterize the heritage elements likely to contribute to better Ukrainian visibility. These approaches have required the relevant delimitation and analysis of several corpuses: travel guides, lists of classified cultural heritage, questionnaires among tourists.Geopolitical changes and tensions in Ukraine have significantly disrupted access to data: some of them have completely disappeared. First of all, there are the tourist statistics of certain regions in tension (Donetsk, Luhansk, Crimea regions). In addition, the lists of classified cultural heritage have undergone transformations following the so-called "de-Sovietization" laws, leading to the abolition of heritage lists from the Soviet period. This "de-patrimonialization" also concerns certain monuments and heritage objects considered as "bearing the ideology of the communist regime". Finally, this difficulty of access to sources that are comparable over time on a national scale, such as official depatrimonialisation movement, has led to a partial repositioning of the research issues, with old and new heritages mobilizing the question of memory and Ukrainian identity in a different way.The diachronic approach used in explaining the tourism and institutional heritage evolutions has been put into perspective over a longer period of time. This is how the exploration and analysis of travel guides since the beginning of the XXth century has made it possible to resituate more widely the representations and discourses relating to tourism and therefore to Ukrainian identity through its heritage.Data representation work - graphs, synoptic tables, maps – has been carried out to better visualize the comparative elements, in their diachrony as well as in their spatializations. It has contributed to a diagnosis highlighting the disparities relating to tourist flows, territorial markers as well as classified heritage objects. These analyses lead to some recommendations for the implementation of niche tourism, centered on the articulation of tourist-heritage offers, based on accessible statistical data, but with a concern for vigilance as to their reliability
49
Lerman, Ricardo Terdiman. "Harun Farocki e a (des)montagem do olhar." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-06022018-095900/.
Анотація:
O trabalho de pesquisa pretende aprofundar-se na concepção e método de cinema de Harun Farocki tomando como problema a relação da sua arte cinematográfica com a história e com as construções simbólicas que se operam a partir da produção de imagens no mundo pós-industrial. Há um duplo movimento em seus filmes que consiste em, de um lado, esboçar, através das imagens que circulam no interior do espaço social, uma história audiovisual da civilização que advém com a invenção da fotografia, a fim de localizar as convergências entre guerra, economia, política e representação. Do outro, investigar o papel do realizador e portanto questionar a técnica, a moral e a política de sua atividade, a fim de interrogar a prática cinematográfica em um mundo contemporâneo saturado dela. O presente trabalho buscará, pelo procedimento da análise fílmica discutir os aspectos sociais e políticos da produção de imagens na atualidade segundo a obra de Farocki, ancorando-se na crítica da fotografia (Flusser) e da história da cultura (Benjamin). A pesquisa evidenciará como as estruturas formais de seus filmes constroem uma relação singular entre as imagens de arquivo e os processos históricos correspondentes, tendo como horizonte compreender a ideia de cinema que se constrói nos filmes \"Imagens do mundo e inscrições da guerra\" (1988) e \"Videogramas de uma revolução\" (1992).The present work intends to deepen in the conception and method of Harun Farocki\'s work and investigate the relation between his cinematography art, history and the symbolic constructions that are made since the development of the post-industrial world. There is a double movement in Farocki\'s film. The first one involves sketching trough images that circulate in the interior of society an audiovisual history of the civilization that emerges with the invention of photography to locate the convergence between war, economics, politics and representation. The second one consists in investigate the role of the director in the the contemporary world and therefore to question the technique, morals and politics of his activity, in order to interrogate the cinematographic practice in a contemporary world saturated with it. This work of research will seek, through de procedure of film analysis, to discuss the social and political aspects of the production of images in the present time according to the work of Farocki, anchoring itself in the critic of photography (Flusser) and the history of culture (Benjamin). The research will show how the formal structures of his films construct a singular relation between the archive images and the corresponding historical process in the films \"Images of the world and inscriptions of war\" (1988) and \"Videograms of a Revolution\" (1992).
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Nelson, John T. "American Cultural Icons Defining the Cold War: A Study of the Attributes Embodied in the Rosenthal Iwo Jima Photograph, the John Wayne Screen Persona, Apollo Images, and Berlin Wall." University of Toledo / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1278946239.