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Relevant bibliographies by topics / Amateur image / Dissertations / Theses

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Dissertations / Theses on the topic 'Amateur image'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Heaton, Emily Mullins. "Formant Changes in Amateur Singers After Instruction in a Vowel Equalization Technique." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3527.pdf.

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2

Poos, Francoise. "The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.

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This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises toda

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3

Manuel, Alexandre. "Information d’urgence et information télévisée : analyse d’un paradigme communicationnel (les événements du tsunami de 2004 et du 11 septembre 2001)." Thesis, Besançon, 2011. http://www.theses.fr/2011BESA1007/document.

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Bien que le continuum discursif de l’information télévisée soit marqué par un rituel quotidien, il inscrit les événements dans différents niveaux de profondeur pathémiques. Lors de grandes catastrophes telles que le tsunami d’Asie du Sud-Est de 2004 ou le 11 septembre de 2001, le degré de profondeur atteint semble avoir cristallisé une forme particulière, que le travail de thèse désigne comme information d’urgence, à l’égard de laquelle il s’attache à dessiner les plans conceptuels et définitionnels. Majoritairement manifestée par l’immixtion massive d’images d’amateurs, l’information d’urgenc

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4

Mendes, Menezes Lucas. "Images voyageuses : photographie amateur brésilienne dans la collection de la Société française de photographie." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H080.

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La collection de photographies brésiliennes de la Société française de photographie (SFP) est composée de 150 photographies, produites entre les années 1940 et 1950 par des photographes amateurs, formellement associés à des photo-clubs au Brésil. Au-delà des appartenances esthétiques, géographiques et institutionnelles, ces images peuvent, d’abord, être divisées en deux groupes différents : celles envoyées pour la participation au Salon International d’Art Photographique en 1951 et celles exhibées en février 1960, dans le cadre d’une exposition sur la photographie brésilienne, organisée à Gale

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5

ANDRADE, ANA PAULA GOULART DE. "APOCRYPHAL TV NEWS BROADCAST: PERSPECTIVES ON THE AMATEUR AND SURVEILLANCE IMAGES USAGE ON CREATION OF TV NEWS S NARRATIVE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27236@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>Essa dissertação se foca na reflexão sobre o uso de imagens originadas em câmeras amadoras e de videovigilância como prática relativamente nova e, no entanto, crescente na construção de narrativas telejornalísticas – a isso foi atribuído a classificação de telejornalismo apócrifo, aquele que se constrói a partir de imagens originadas no exterior do cânone jornalístico. Dessa forma, teoricamente, o trabalho considera ap

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6

Oxley, Noémie. "“The Real Nasty Side of War" : An iconology of amateur productions shot by American soldiers in Iraq." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0733.

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Cette thèse explore les vidéos filmées par les soldats américains en Irak et postées sur Youtube. En m'appuyant sur leurs images portant sur des opérations de combat ou de maintien de la paix, je démontre la spécificité de leurs productions, loin des représentations médiatiques traditionnelles de la guerre, ainsi que des doctrines de guerre technologique et de contre-insurrection. Ces versions, qu'elles proviennent des manuels à destination des soldats, des discours officiels, des reportages télévisés, des jeux vidéos ou des caméras automatisées fixées sur les missiles longue-portée, délivrent

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7

Price, Elizabeth Megan. "Town and Gown : amateurs and academics : the discovery of British prehistory, Oxford 1850-1900 : a pastime professionalised." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:b07844bc-f5a5-4064-9cac-198ff9b704a7.

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This investigation into the origin of a collection of nineteenth century lanternslides revealed evidence of the social, intellectual and cultural importance of various scientific societies in Oxford, and the contributions made by those involved, particularly the creator of the lanternslides, H. M. J. Underhill, (1855–1920). Evidence gathered from primary sources showed a fluidity of relationships between the supposed ‘town and gown’ in late nineteenth century Oxford which consisted of a community of citizens, amateurs and academics, all of whom were linked by a growing interest in the real and

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8

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.

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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 enr

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9

Lima, Renata Pereira. "A fantasia de atleta no imaginário de corredores amadores: análise do papel das marcas esportivas na construção da imagem de participantes de grupos de corrida." Pontifícia Universidade Católica de São Paulo, 2007. http://tede2.pucsp.br/handle/handle/2687.

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Made available in DSpace on 2016-04-25T20:21:51Z (GMT). No. of bitstreams: 1 renata lima.pdf: 1488304 bytes, checksum: ac63cb565b8e8e01ea02f4ca2d38d8e5 (MD5) Previous issue date: 2007-06-14<br>The main objective of this research was to describe and analyze the image that amateur runners, members of the runners´ team Run & Fun, in São Paulo, have of themselves: how they perceive themselves as runners and what are the values that characterize and unite them. An ethnographic research was conducted during one year in which the runners´ routine and their relationship among themselves and with the

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10

Continentino, Blank Thais. "Da tomada à retomada : origem e migração do cinema doméstico brasileiro." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010521/document.

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Ce travail de doctorat est consacré au cinéma amateur produit au Brésil entre les années 1920 et 1965. Notre recherche a été développée à partir d'un corpus constitué par des films produits par cinq familles. Dans une première partie, nous revenons sur l'origine et le développent de cette pratique au Brésil en nous basant: l'étude des disputes commerciales qui ont marqué l'arrivée sur le marché des équipements dédiés exclusivement à l'usage amateur; les publications des années 1920 et 1930 consacrées à ce public et sur la récupération du contexte de production des images qui forment notre corp

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11

Marzochi, Ilana Feldman. "Jogos de cena: ensaios sobre o documentário brasileiro contemporâneo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-22052013-110822/.

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Ensaísmo, práticas confessionais, autoficção, performance de si, apropriação de imagens amadoras, valorização do processo e abertura da cena à sua não-realização, na forma da emergência do fracasso, são escolhas, projetos ou procedimentos estéticos empregados em um número crescente de filmes brasileiros, sobretudo aqueles tomados por documentais. Tais escolhas dialogam, criticamente ou não, com uma cultura audiovisual colonizada por estratégias que visam a uma permanente intensificação dos \"efeitos de real\": seja por meio da tentativa de apagamento da linguagem como construção e mediação (o

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12

Lu, Wei-Ling, and 盧韋伶. "A Study of Amateur Photographer's Image Tagging behavior in Photo Sharing Website." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/19038388196410386452.

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碩士<br>國立臺灣師範大學<br>圖書資訊學研究所<br>98<br>With the high popularity of Web 2.0 services, and the use of digital cameras becomes increasingly pervasive, many users prefer searching, shareing, and preserving their photos by photo sharing website. To be faced with the large number of photos, this is a worthy issue to be study how people search, organize, and share photos with others. Nowadays, many photo sharing websites are offering users to tag their photos. Through this way, users not only can search photos by keywords, but also increase social interaction indirectly by the connections of photos. In

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13

Tseng, Chieh-Yen, and 曾介彥. "A Study of How Amateur Photographers Use Digital Image Post-production Software for Their Creations in the Digital Photography Era." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/70323457625494651085.

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碩士<br>世新大學<br>廣播電視電影學研究所(含碩專班)<br>102<br>In the age of post-photographic era, people are flooded by too many images. In October, 2013, photographer James Estrin, in an article for the National Geography Magazine, points out: Nowadays, photos are seen everywhere on the internet. Yet, not much of them would really last. In the digital era, because of the improvements on imaging equipments and a cost-down trend on the recording media, photography is no longer an expensive hobby for the professional photographers. Age or vocation is not a limiting factor anymore. It’s very common to see young stu

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14

Oldfield, Christina. "Picturing home : home as represented in vernacular image making : written component presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington." 2010. http://hdl.handle.net/10179/1536.

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This project grew out of an interest in notions of ‘home’, what ‘home’ is and its relationship to the ‘house’ as a physical place of dwelling. Specifically, this project explores how the home is represented in vernacular image-making, such as the photographs in the family album and craft methods such as cross-stitch. This lead to an investigation into vernacular photography, collections and archives, and contemporary craft methods. An archive of photographs collected follows the text, as well as drawings and embroideries made during the project. The final work consists of a large-scale project

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15

Lavallée, Pascal-Anne. "De l'animation des images fixes dans "Me and You and Everyone we Know" : photographie, vidéo, cinéma." Thèse, 2010. http://hdl.handle.net/1866/5157.

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Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leu

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16

Vilímová, Tereza. "Občanský fotožurnalismus a videožurnalismus na českých zpravodajských webech." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-267690.

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The master's thesis deals with the citizen photojournalism and the citizen videojournalism in the Czech media landscape. It focuses on the frequency of the amateur photographs and videos published on the selected news web sites and also on the gatekeeping process. This master's thesis also reflects the editor's opinions on the citizen photojournalism and the citizen videojournalism. The citizen journalism is usually viewed from the perspective of the citizen journalists, but this master's thesis brings the view from the second side, from the media professionals. The thesis uses the combination

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