Thematische Bibliographien / Photography of women

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Auswahl der wissenschaftlichen Literatur zum Thema „Photography of women“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Photography of women"

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.

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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 us

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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.

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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

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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.

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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

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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.

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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 univer

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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.

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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.

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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 ethnogra

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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.

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<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 &mdash; 38 men (M=28.84

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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.

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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 politi

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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.

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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-poli

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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.

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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 photojournal

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Dissertationen zum Thema "Photography of women"

Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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Tsao, Kai-Wen Evangeline. "Photographing desire : women exploring sexuality through auto-photography." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/11536/.

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Feminist debates since the second-wave movement frequently construct ‘women’s sexual liberation’ and resistance to patriarchal heteronormativity as oppositions. This framework oversimplifies the interwoven relationship between personal and cultural constructions of women’s sexuality; furthermore, it risks overlooking individuals’ lived experiences and emotions. This research investigates the multiplicity and complexity of ‘women’s sexual desire’ by engaging with feminist symbolic interactionism and ideas from queer theories. How does a woman negotiate her personal ‘web of desire’ within social

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Skidmore, Colleen Marie. "Women in photography at the Notman Studio, Montreal, 1856-1881." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq46921.pdf.

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Bryant, Susan C. "The Beautiful Corpse: Violence against Women in Fashion Photography." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/158.

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My senior thesis deals with contemporary depictions of sexualized violence against women in fashion photography. Images of bloodied, bruised, and dead-looking models have proliferated in fashion magazine editorials and advertisements since the 1970s and I want to explore why sexualized violence is seen as sexy and compelling advertising, in light of the fact that domestic violence is the greatest cause of injury to women in America. I produced my own fashion photographs in locations of actual female homicides in Los Angeles County, particularly those nearest to Claremont, with the use of The L

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Crinall, Karen Maree, University of Western Sydney, and Critical Social Sciences Research Group. "Imag(in)ing women as homeless : re/tracing socially concerned photography." THESIS_XXX_CSSRG_Crinall_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/453.

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This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to g

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Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/453.

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Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041103.175604/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"A thesis submitted for the degree of Doctor of Philosophy, Critical Social Sciences Research Group, University of Western Sydney" Bibliography : leaves 312-335.

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Spenny, Anne M. "Portrait of a young woman /." Online version of thesis, 1989. http://hdl.handle.net/1850/11529.

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Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.

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This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through the

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Kuo, Hsiu-Li. "The solitary notations." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/182.

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This study investigates imagery from twentieth century art presenting the fluctuation of the human psyche, and historical western imagery revealing the mortal condition of human corporeality. The exploration of the interdisciplinary historical aspect of Surrealism (Rubin: 1968, Alexandrian: 1970, Bigsby: 1972), womens art (Orenstein: 1973, Chadwick: 1985), anatomical illustration (Roberts: 1992, Cazort: 1996), and death-related photography (Sante: 1992, Burns: 1990, 1998, OConnor: 1999) is an attempt to attain a coherent sense of being a human in the natural world. The Solitary Notations explo

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Bücher zum Thema "Photography of women"

1962-, Delius Peter, and Slaski Jacek, eds. Women by women. Munich: Prestel, 2003.

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Palmquist, Peter E. Women in Photography Archive. Arcata, CA: Women in Photography International Archive, 2003.

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1944-, Connor Linda, and Axiom Centre for the Arts., eds. California: Women in photography. Cheltenham: Axiom Centre for the Arts, 1987.

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Gupta, Prabuddha Das. Women. New Delhi, India: Viking, 1996.

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Newton, Helmut. White women. New York: Thunder's Mouth Press, 2000.

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Prince, Richard. Women. Los Angeles: Regen Projects, in collaboration with Hatje Cantz Publishers, 2004.

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Newbury, Darren, Lorena Rizzo, and Kylie Thomas, eds. Women and Photography in Africa. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410.

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Newton, Helmut. Pola women. München: Schirmer/Mosel, 1992.

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Lindbergh, Peter. 10 women. London: Art Data, 1996.

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Mann, Sally. At twelve: Portraits of young women. New York, N.Y: Aperture, 1988.

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Buchteile zum Thema "Photography of women"

Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition, 189–209. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.

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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.

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Allan, Stuart. "Women and war photography." In Journalism, Gender and Power, 312–30. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315179520-22.

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Smith, Tina, and Jenny Marsden. "Photographs and Memory Making." In Women and Photography in Africa, 163–89. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-12.

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Kontou, Tatiana, Victoria Mills, and Kate Nichols. "‘Photography as an Employment for Women’." In Victorian Material Culture, 517–20. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-167.

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Gardner, Nathanial. "Fundamental Considerations for Mariana Yampolsky's Photography." In Women Photographers and Mexican Modernity, 58–75. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003309352-7.

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Newbury, Darren, Lorena Rizzo, and Kylie Thomas. "New Lines of Sight." In Women and Photography in Africa, 1–19. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-1.

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Barouti, Tina. "‘We Own the Night’." In Women and Photography in Africa, 149–62. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-11.

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Lewin, Tessa. "Beyond the Frame." In Women and Photography in Africa, 190–202. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-13.

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Kesting, Marietta. "Affective Archives." In Women and Photography in Africa, 205–26. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-15.

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Makhubu, Nomusa. "Visual Currencies." In Women and Photography in Africa, 227–48. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003087410-16.

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Konferenzberichte zum Thema "Photography of women"

Allmark, Panizza. "Making a Difference: Social Media, Photography, Activism and Women in Asian Contexts." In International Conference on Emerging Media, and Social Science. EAI, 2019. http://dx.doi.org/10.4108/eai.7-12-2018.2281801.

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Ananchenkova, Polina, and Mikhail Kuznetsov. "THE USE OF E-LEARNING TECHNOLOGIES IN TRAINING PROCESS FOR WOMEN ON PARENTAL LEAVE (NEW MOMS)." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-048.

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E-learning is one of the innovative technologies of formation of students' professional competence. The distance learning in the Russian educational organizations has both advantages over the traditional forms of education and some peculiarities. It sets certain specific requirements for the teacher and the learner. In particular, one should keep in mind that all foreign educational resources suggest a proficient command of a foreign (primarily English) language. There are resources in the Russian Internet too that favor the formation of general cultural and professional competence. And all co

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De Sola, Ignacio Sifre, Nieves Pérez-Mata, and Margarita Diges. "THE EFFECT OF THE INSTRUCTIONS ON FACE RECOGNITION: ACCURACY AND EYE MOVEMENTS." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact104.

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"The present experiment examines how instructions (absolute judgement vs. relative judgement) affect the performance in simultaneous lineups (present perpetrator and absent perpetrator). To find out whether the participants really followed the instructions, their eye movements were recorded when they faced the photo lineup. Sixty participants (44 women and 16 men) took part in the experiment. Overall, the results showed that participants with absolute judgement instructions made significantly less inter-photograph comparisons than those with relative judgement instructions. In the present perp

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Rule, Heather A. "Expanding Women’s Agency in the Built Environment: Understanding How Employment Has Impacted Women’s Access to Space in Rural Andean Ecuador." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.132.

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For centuries women’s agency in the built environment of their homes, communities and workplace was limited by an absence of ownership and control of these spaces. Even as women gained equal rights to land ownership, their capacity to develop that land was limited by social and cultural structures. Access to employment changed for women living in rural areas when the rose industry developed, especially around Cayambe and Cotopaxi, creating jobs near their home communities. Over fifty-one percent of current industry jobs are held by women, with higher number in the early years. Using participat

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Sadique, S., YD Lin, SA Walker, B. Rao, PAK du Cros, J. Greig, ATM Bhuiyan, et al. "Face mask acceptability and usage after mass distribution in a refugee camp during the Covid-19 pandemic: mixed-methods study." In MSF Scientific Days International 2022. NYC: MSF-USA, 2022. http://dx.doi.org/10.57740/s2se-8951.

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INTRODUCTION The crowded conditions within camps for refugees and internally displaced people create risk environments for unmitigated transmission of SARS-CoV-2. Within one such setting, Cox’s Bazar, Bangladesh, MSF distributed face masks in July-August 2020 for use by people living in eight camps to reduce transmission risks. However, uptake of face masks within camp populations and the factors influencing use are not well understood. METHODS We conducted a multi-level triangulation mixed-methods study in March 2021 in Cox’s Bazar. Field observations were undertaken in public spaces in four

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Rudiran, Sureshkumar, and Samiappan Dhanalakshmi. "Optical Imaging of Compact Photographic Zoom Lens Systems." In 2024 IEEE International Conference for Women in Innovation, Technology & Entrepreneurship (ICWITE). IEEE, 2024. http://dx.doi.org/10.1109/icwite59797.2024.10502846.

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Sun, Q., and John E. Field. "High-speed photographic study of impact on fibers and woven fabrics." In 19th Intl Congress on High-Speed Photography and Photonics. SPIE, 1991. http://dx.doi.org/10.1117/12.23993.

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Zuniga, Rubén David dos Reis, Izadora Fonseca Zaiden Soares, Roseli Corazzin, and Alzira Alves de Siqueira Carvalho. "Study of the prevalence of Frank’s sign in a general population." In XIII Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1516-3180.194.

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Background: Frank’s sign is a diagonal crease in the earlobe that extends from the tragus to the inferior-posterior auricle’s edge. Described as a predictor of cardiovascular diseases (CVDs), it was considered an independent cardiovascular risk factor (CRF) and associated with cerebrovascular events and cognitive impairment (CI). Objectives: To assess the prevalence of Frank’s sign in a general population aged 60 years or older regardless of the presence of CRFs and to relate the presence of this sign with epidemiological and clinical aspects. Design and setting: This is an analytical, observa

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Zuniga, Rubén David dos Reis, Izadora Fonseca Zaiden Soares, Roseli Corazzini, and Alzira Alves de Siqueira Carvalho. "Study of the prevalence of Frank’s sign in a general population." In XIII Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/1516-3180.409.

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Arnautu, Irina. "THE DIGITAL DEPICTION OF THE ARCHAEOLOGICAL WOVEN FABRIC BASED ON ARAHNE CAD/CAM FOR WEAVING." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-231.

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The conservation and restoration of archaeological woven fabrics are faced with many practical challenges. In case of damask fabrics, besides the identification of structural characteristics of the woven fabric, one of these challenges is referred to the reconstruction of the ornamental depiction. In the attempt to obtain a better correlation between the structural characteristics and ornamental depiction of damask fabrics, the traditional working techniques are based too much on subjectivity of archaeological understanding and interpreting of the textile conservator-restorer. The digital tech

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Berichte der Organisationen zum Thema "Photography of women"

Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations

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