To see the other types of publications on this topic, follow the link: American Photographers.
Dissertations / Theses on the topic 'American Photographers'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 46 dissertations / theses for your research on the topic 'American Photographers.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Piper, William Brian. "Cameras at Work: African American Studio Photographers and the Business of Everyday Life, 1900-1970." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068187.
Full textAbstract:
This dissertation examines the professional lives of African American studio photographers, recovering the history of an important industry in African American community life during segregation and the long Civil Rights Movement. It builds on previous scholarship of black photography by analyzing photographers’ business and personal records in concert with their images in order to more critically consider the circumstances under which African Americans produced and consumed photographs every day. During the first half of the twentieth century, urban photography studios constituted essential spaces where African Americans considered ideas of commerce, art, labor, leisure, class, gender, and group identity; “Cameras at Work” situates studio photographers in the history of photography, twentieth-century black cultural politics, and the trajectory of African American business history. The rich records of the Scurlock Studio in Washington, DC center and focus my analysis, which I develop via close comparison of the Scurlocks with a number of other professionals including Morgan and Marvin Smith, Austin Hansen, Louise Martin, and Ernest Withers. These men and women acted locally while empowering African Americans to share their own images nationally, thus contributing to the creation of a wholly American visual culture. Throughout, I treat photographs as objects through which camera operators, consumers, and viewers articulated an understanding of themselves as well as the historical moment in which they negotiated the making of the photograph.
2
Gillis, Natalie Kersey. "Reconstructions : the contemporary Southern landscape by its photographers." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002736.
Full text
3
Morris, Ryan K. "Understanding Involuntary Job Loss Among Former Newspaper Staff Photographers." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4174.
Full textAbstract:
This study examines former newspaper photographers' experience with being laid-off from their staff positions. The purpose was to identify emerging themes within the context of involuntary job loss, job satisfaction, and occupational identity via interviews with 8 photojournalists who experienced the phenomenon of being laid-off. The newspaper industry has long been considered both the starting point for young and aspiring photojournalism careers and the most consistent and stable venue for an income. Yet recent changes in the media landscape, particularly economic stress on traditional business models and rapid adoption of digital technology sway the occupational future of photojournalism within newsrooms. The research method employed for this study includes in-depth interviews with a hermeneutical phenomenology approach focused on involuntary job loss, job satisfaction, and occupational identity.
4
Henninger, Katherine. "Ordering the façade : photography and the politics of representation in contemporary Southern women's fiction /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full text
5
Plunkett, Wilma Marie. "Edith Irvine: Her Life and Photography." BYU ScholarsArchive, 1989. https://scholarsarchive.byu.edu/etd/5613.
Full textAbstract:
ln mid-1988, Brigham Young University received a high-quality collection of photographic glass plates made by Edith Irvine at the tum of the century. The plates, her camera and other photographic equipment, and miscellaneous publications were donated to BYU by her nephew, Jim Irvine.
When the plates arrived and the Archives Photolab had them proofed, we realized thal not only were the San Francisco earthquake/ fire and other areas of California history recorded, but we had, in fact, the work of an outstanding photographer. As we compared the proofs with the work of other photographers who handled similar subjects, we called on faculty members qualified to judge her work. All were unstinting in their praise. As our Archives Curator, Dennis Rowley, looked at them, he said, "I've never seen a sel of photographs create a mood like these do."
The more I worked with them, the greater my need to do more than just process and preserve. As I discussed the collection with the faculty members, it became evident to me that I should make a change in my graduate program. I was determined to learn more about the photographer.
The collection of photographs can be viewed in the Edith Irvine Collection.
6
Kachuba, John B. "The Reich photographer's tale." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1057252182.
Full text
7
Hammond, Anne. "The landscape photographs of Ansell Adams." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323155.
Full text
8
Stoffle, Richard W., Vlack Kathleen Van, and Rebecca Toupal. "American Indians and the Old Spanish Trail Photographs." University of Arizona Libraries, Special Collections, 2008. http://hdl.handle.net/10150/295081.
Full textAbstract:
This is a slide show of selected photographs from the American Indians and the Old Spanish Trail Ethnographic Study. These photographs serve as supplemental materials for the two reports and offers illustrations of the people, places and resources.
9
Stoffle, Richard W., Vlack Kathleen Van, and Sean O'Meara. "Native American Ethnographic Study of Tonto National Monument Photographs." Bureau of Applied Research in Anthropology, University of Arizona, 2013. http://hdl.handle.net/10150/293123.
Full text
10
OLIVEIRA, C. B. "O ESTILO DOCUMENTÁRIO DE WALKER EVANS EM AMERICAN PHOTOGRAPHS." Universidade Federal do Espírito Santo, 2013. http://repositorio.ufes.br/handle/10/2096.
Full textAbstract:
Made available in DSpace on 2016-08-26T15:19:01Z (GMT). No. of bitstreams: 1
tese_6407_DISSERTACAO FINAL_CLERISTON BOECHAT.pdf: 275592712 bytes, checksum: bf7398cd8738a8c8dff1819f50ff0a4f (MD5)
Previous issue date: 2013-04-02Investiga o estilo documentário do fotógrafo americano Walker Evans na exposição e no livro American Photographs, de 1938. Analisa as fotografias do autor a partir de textos críticos de diversos autores, dentre eles Walter Benjamin, Michel Foucault, Rosalind Krauss, John Szarkowski e Alan Trachtenberg. Identifica e aborda as principais influências literárias e fotográficas na construção do estilo documentário: o não-aparecimento do autor defendido por Gustave Flaubert; o espírito de modernidade de Charles Baudelaire; o repertório e a abordagem direta de Eugène Atget; a construção de uma tradição fotográfica americana em Mathew Brady e em Paul Strand. Ao tratar da exposição, aborda os principais temas desenvolvidos ali pelo artista e ainda como trabalhou a sequência fotográfica contra a ideia modernista da fotografia como imagem singular e contra a pompa da expografia museográfica. Aborda a relação entre o artista e o Museu de Arte Moderna de Nova York, o MoMA, instituição que patrocinou a publicação e abrigou a mostra. Ao tratar do livro American Photographs, aborda separadamente parte um e dois da publicação, ressaltando os diferentes temas e sequências desenvolvidos pelo artista. Palavras-chave: Fotografia. Walker Evans. Estilo documentário. American Photographs. MoMA.
11
Nofziger, Cinda Marie. "Vacation views: tourist photographs of the American West, 1945-1980." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3361.
Full textAbstract:
This dissertation examines how tourists used photography during a period when economic prosperity and guaranteed vacation time meant increasing numbers of Americans gained the ability to travel for vacation; cameras and film became less expensive and travel photography more ubiquitous; and photographs produced by tourists helped shape the visual imaginary of the West. Tourists used the activity of photographing to be engaged in their vacations and their photographs represent authentic interactions among traveling companions.
Typically, cultural critics view tourists as passive consumers who unthinkingly follow guidebooks' prescriptions and whose photographic practices prevent them from having authentic vacation experiences. While photographs in guidebooks, travel magazines, and other advice literature showed potential tourists what they should capture on film, tourists did not strictly follow that advice. Instead, tourists creatively engaged with photography to enhance their vacation experiences. My examination of tourist photographs reveals that tourists made choices about their photographic subjects, even as they also photographed iconic western scenes. Vacationers shot a variety of subjects, many of which are unexpected. As they traveled through the West, tourists used their cameras to connect with their companions, to amuse and entertain themselves and to create vacation stories to share with family and friends.
My argument restores agency to tourist subjects by engaging concretely with their photographs. Because I emphasize tourist photographs, reading them as aesthetic constructions that enact the processes of creating meaning and identity, my project intervenes to quarrel with scholars and cultural critics who have often viewed tourists and the activity, aesthetics, and meaning of their photographs as inauthentic, vacuous and overly mediated.
12
Sukhomlinova, Alexandra A. "The image of Russia in the news photographs in American newspapers." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1654490931&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
Full text
13
Williams, Margaret Keeton. "Strategic Victimization: News Photographs, the Birmingham Children's Crusade, and the Revisualization of America." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539626646.
Full text
14
Aarlien, Peggy Finley. "The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626612.
Full text
15
Bergman, Rebecca Ruth Connelly Frances S. "Visions of American progress : the photographs of Frances Benjamin Johnston at the Paris Exposition of 1900." Diss., UMK access, 2006.
Find full textAbstract:
Thesis (M.A.)--Dept. of Art and Art History. University of Missouri--Kansas City, 2006."A thesis in art history." Typescript. Advisor: Frances Connelly. Vita. Title from "catalog record" of the print edition Description based on contents viewed Oct. 30, 2007. Includes bibliographical references (leaves 260-278). Online version of the print edition.
16
Halsban, Megan. "Stereographs as Scholarly Resources in American Academic Libraries and Special Collections." Thesis, School of Information and Library Science, 2008. http://hdl.handle.net/1901/543.
Full textAbstract:
This paper examines stereographic images as scholarly resources, and begins with a brief history of the stereograph. A discussion and review of the literature related to the stereograph as well as the preservation of photographic objects follows the introduction. In addition to the literature review, collections of stereographs at four repositories were evaluated for usability: The Keystone-Mast Archive at the University of California, Riverside; The Eliot Elisofon Archive at the Smithsonian Institution; the George Eastman House; the Library of Congress. The paper ends with suggestions for future work with the stereograph, in order to facilitate access and use by researchers.
17
Bertrand, Anne. "Walker Evans, écrits et propos. Edition critique." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC122.
Full textAbstract:
Cette thèse a pour objet les textes de Walker Evans (1903-1975), publiés de son vivant et signés de son nom. Figure majeure de la photographie américaine, dès l'exposition "American Photographs", au Museum of Modern Art (MoMA) de New York en 1938, et le livre éponyme, Evans a d'abord voulu devenir écrivain. Sauf une décennie fondatrice pour son oeuvre photographique, du début des années 1930 au début des années 1940, il n'aura, de sa vie, cessé d'écrire. Il a cependant peu théorisé sur la photographie, et ne s'y est résolu que tard. Un essai est consacré à la relation d'Evans, photographe, à l'écriture ; une anthologie réunit la plupart de ses écrits et propos, chaque texte bénéficiant d'une introduction qui le présente et l'analyse,s'appuyant notamment sur les Walker Evans Archive conservées au Metropolitan Museum of Artde New York ; un volume iconographique reproduit des publications d'Evans alliant ses textes et des images. Critique pour le magazine Time (1943-1945), au côté de son ami Agee, puis collaborateur du magazine Fortune (1945-1965), Evans invente dans ce périodique une forme de portfolio juxtaposant texte court qu'il rédige et images, les siennes ou celles d'autres, sur dessujets relevant souvent d'une culture vernaculaire. Il signe par ailleurs dans la presse des critiques,notamment sur la photographie. À partir de la fin des années 1960, alors qu'il enseigne à l'université Yale de New Haven, il publie plusieurs textes essentiels pour l'histoire du médium,dont un entretien avec Leslie Katz, au moment de sa seconde rétrospective au MoMA en 1971.Evans y fonde l'expression "style documentaire", qui qualifie sa photographie, et entraîne avec elle tout un pan de la création contemporaine. Hors Atget, les références qu'il donne pour son art sont littéraires, Flaubert et Baudelaire, ou James, Proust, Nabokov – indiquant l'importance qu'eurent toujours à ses yeux l'écriture, et le styleThis thesis aims to provide a critical study of the texts Walker Evans (1903-1975) signed and published during his lifetime. One of the most important photographers of the United States, from his exhibition "American Photographs," at the Museum of Modern Art(MoMA) of New York, and the eponymous book, in 1938, Evans first wanted to become a writer. With the exception of one decade, from the early 1930s to the early 1940s, when hefocused solely on photography and produced the core of his work, never in his life did Evansstop writing. However, he did not theorize about photography but sparingly, and quite late in life. An essay is considering the relation of the photographer to writing ; a selective anthology gathersmost of his texts, each with an introduction which presents and analyses its contents, in the light of sources from the Walker Evans Archive at the Metropolitan Museum of Art in New York; an iconographical volume reproduces Evans's publications combining his texts and images. Evanswrote as a critic for Time Magazine (1943-1945) beside his friend Agee, then contributed to Fortune(1945-1965). He there invented the form of portfolios combining a short text he would write and images, either by him or by others, often times on vernacular subjects. Furthermore, he would sign critical essays in various periodicals, particularly on photography. From the end of the 1960s, while he was teaching at Yale University, he would publish a few theoretical writings which are decisive for the history of the medium, notably the interview with Leslie Katz which was published at the occasion of Evans's second retrospective at MoMA, in 1971. Here Evans coined the phrase "documentary style", which qualified his own photography, and would apply to manyworks by contemporary artists. At get being his main reference for photography, the other references he mentions are principally literary: Flaubert and Baudelaire, or James, Proust, Nabokov. They indicate how concerned the photographer was, always, with writing, and style
18
Cass, Taryn May. "A comparison of the views of South African and American photojournalists to the digital manipulation of news photographs." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002873.
Full textAbstract:
Digital technology has now become pervasive at most publications in South Africa and in America. Pictures are routinely digitised by publications for ease of handling in the layout process, and this makes it relatively easy to alter or manipulate the pictures using computer software programmes. This thesis attempts to gauge the views of South African photojournalists about the digital manipulation of news photographs, and compare these to the views of American photojournalists. It is based on the hypothesis that South African and American photojournalists have different views of what is acceptable manipulation of news photographs, and that their reasons for this will also be different. This thesis also suggests that the manipulation of news photographs is ethically problematic and can damage the credibility of both the photojournalist and the publication in which the photographs appear. The study involves a comparison of the results from a questionnaire given to South African photojournalists and a similar questionnaire given to American photojournalists. The questionnaires were then supplemented by interviews with six South African photojournalists. The thesis then draws conclusions from the responses to the questionnaires and interviews. These conclusions partially support the initial hypothesis, in that there are some differences between the views of South African and American photojournalists, but, on the whole, these are remarkably similar. Photojournalists do seem to find the manipulation of news photographs to be ethically problematic, but they may find the manipulation of other kinds of images (eg fashion or soft news) to be acceptable. South African photographers also find the manipulation of images by other means (eg different lenses or darkroom techniques) to be more acceptable than Americans do. Although the underlying reasons for these views may differ, maintaining the credibility of the photographer and the publication does seem to be the major issue for avoiding digital manipulation. South African photographers seemed to think that if the photographer had done his or her job well, there would be no need for manipulation, and both groups (but especially the Americans) felt that manipulation could often be equated to lying to the reader, and that this might damage their reputation, and that of their publications.
19
White, Katie Janae. "The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4114.
Full textAbstract:
In July of 1863 the photographs A Harvest of Death, Field Where General Reynolds Fell, A Sharpshooter's Last Sleep, and The Home of a Rebel Sharpshooter were taken after the battle at Gettysburg by a team of photographers led by Alexander Gardner. In the decades that followed these images of the dead of the battlefield became some of the most iconic representations of the American Civil War. Today, Gardner's Gettysburg photographs can be found in almost every contemporary history text, documentary, or collection of images from the war, yet their journey to this iconic status has been little discussed. The goal of this thesis is to expand the general understanding of these Civil War photographs and their legacy by considering their use beyond the early 1860s. Although part of a larger scope of influence, the discussion of the photographs presented here will focus particularly on the years between 1894 and 1911. Between those years they were made available to the public through large photographic histories and other history texts as well. The aim of these texts, which framed and manipulated Gardner's images, were to disseminate a propagandistic history of the war in a way that outlined it as a nationally unifying experience, rather than one of division. These texts mark the beginning of the influence the Gettysburg photographs would have on American memory of the war. Within these books the four photographs became part of a larger effort to reconnect with the past and shape the war into a source for a unified American identity.
20
Mahoney, Bridget. "Photography's creative influence on Lewis Carroll's Alice's adventures in Wonderland and Through the looking glass and what Alice found there." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003049.
Full text
21
Dufort, Molly Elizabeth. "Discourse practice, knowledge, and interaction in Tohono O'odham health and illness." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185554.
Full textAbstract:
This study examines problems involved in the management of chronic illness and disability in cross-cultural contexts. It specifically looks at conflicts between different belief systems and different discourse practices in cross-cultural communication between Tohono O'odham (Pagago) families of children with disabilities and non-Indian service providers. The discourse practices through which cultural knowledge is represented in face-to-face interaction, and the range of beliefs and practices which constitute cultural knowledge, are investigated sign ethnographic methods which emphasize a discourse-centered study of meaning and interaction. Utilizing information from participant observation, open-ended interviews, and naturally-occurring speech from a variety of interactional settings, the research focuses on both inter- and intra-cultural variation in knowledge and discourse. The major findings are: (1) a system of beliefs and practices about cause, prevention and treatment of serious illness exists in O'odham communities which differs significantly from the biomedical system within which medical and educational services to children with disabilities is provided; (2) intracultural variation exists in O'odham communities between language and knowledge held by specialists and lay people; and (3) the major genres used by O'odham people to provide information differ significantly from the formats routinely used by service providers to elicit information.
22
Spratt, Margaret Ann. "When police dogs attacked : iconic news photographs and the construction of history, mythology, and political discourse /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/6189.
Full text
23
Wilson, Kelly V. "Modification of karst depressions by urbanization in Pinellas County, Florida." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000471.
Full text
24
Norton, Janel Lynn. "Global CSR And Photographic Credibility: Exploring How International Companies Portray Efforts Through Photographs in CSR Reports." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4185.
Full textAbstract:
We are living in the age of the visual. Imagery is an important element in constructing and deriving meaning through symbols, colors, and context. Images may hold persuasive power, be used as evidence, or simply provide a moment of beauty. Organizations rely on photographs to help them convey an image to their stakeholders within annual reports. Telling an organizations' story through photographs has become an intrinsic part of their efforts to convey sustainability. We live in the age of transparency, and organizations that construct an image that is not truthful will face consequences in today's socially connected and conscious world. Corporate social responsibility has become the triple bottom line in many global organizations, but they have yet to embrace the ethics of visually conveying these efforts in a truthful way. This study explored organizations that have been deemed the most open and honest in their CSR reporting to determine if that extends to the use of photographs within these reports. Findings suggest that although truthful photographs do exist within CSR reports, few can be validated due to lack of photo credit or caption information. Publications who do not provide this level of transparency in their visual reporting run the risk of producing skeptical CSR reports.
25
Arrivé, Mathilde. ""Utterly Lost" ? : l'Indien et la photographie à l'épreuve de l'(anti)-modernité dans "The North American Indian" d'Edward S. Curtis." Bordeaux 3, 2009. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2009BOR30054.
Full textAbstract:
Si un substrat mythique adhère durablement aux photographies d’Edward Curtis, The North American Indian est un iconotope atypique et complexe qui résulte de la rencontre d’une formidable ambition auctoriale et d’une question politique difficile dans un contexte technologique et intellectuel changeant et un climat culturel critique. Vaste réservoir d’images, laboratoire des imaginaires et fabrique des identités, l’ouvrage en vingt volumes d’Edward Curtis fait dialoguer des propositions iconographiques souvent concurrentes, négociant les ambivalences de l’idéologie assimilationniste et testant les représentations de l’Indien héritées du XIXe siècle à l’épreuve des nouveaux schémas identitaires et relationnels. Faisant de la disparition l'enseigne rhétorique de son grand œuvre, Curtis bâtit un monument paradoxal, destiné à rendre les « derniers » hommages autant à une Amérique indienne jugée moribonde qu’à l’idéal héroïque de la Frontière, aux idéologies du progrès et aux absolus romantiques. Œuvre de la synthèse et de la transition, The North American Indian est une manifestation à la fois unique et paradigmatique de l’(anti-) modernité aux États-Unis, proposant un trait d’union entre l’« âge de la confiance » et l’« âge de la conscience », entre le romantisme et le modernisme, à la fois en congruence et en réaction avec les dynamiques culturelles émergentes. Traversée par une certaine négativité, la mise en image de la minorité indienne donne lieu chez le photographe à une relance des grandes problématiques de la modernité culturelle — la question de l’ethnicité, la fabrication de la mémoire, le poids de la tradition et du passé — et à une altération des catégories de la modernité artistique — la question de l’auteur et de l’autorité, les coordonnées de la représentation graphique et le statut du signeWhile some pervasive mythical wrap still lingers on around the name of Edward Curtis and some of his most iconic photogravures, the 20-volume encyclopedia The North American Indian (1907-1930) is a complex, unclassifiable iconotope where the photograph’s artistic and auctorial ambitions meet a vexed political question and a multifaceted cultural and technological moment. As a visual reservoir where identities and representations are imagined, produced and ultimately altered, it promotes dissonant, sometimes contradictory, visual propositions that test the resilience of the residual, 19th-century Indian imagery and negotiate the ambivalences of assimilationnist ideologies. Edward Curtis uses the myth of The Vanishing Race as a rhetorical ensign of his opus and thus builds a paradoxical monument, meant to pay the “last” tributes not only to the supposedly moribund tribal Native America, but also to the heroic ideals of the Frontier era. As a transitional and synthetic work, The North American Indian is a unique and paradigmatic example of anti-modernity, at the crossroads of “the age of confidence” and the “years of conscience”, in the interstices of romanticism and modernism, both in accordance with and in reaction to emergent, contemporary cultural and artistic dynamics. The negativity that pervades Edward Curtis’s pictorialist portraits of Indian life allows the photographer to question the value of his heritage and to tackle some of the major issues of American cultural modernity – the question of ethnicity, the meaning of tradition and memory, the bearing of the imperial past on the colonial present — and eventually to engage indirectly in the overhaul of some crucial categories of modern artistic experience – the question of authorship, the nature of graphic representation and the status of the photographic sign
26
Flach, Katherine E. ""Eliot Elisofon: Bringing African Art to LIFE"." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427999641.
Full text
27
Hertz, Verena Verfasser], and Burcu [Akademischer Betreuer] [Dogramaci. "Die Peripherie des „Everyday America“ im Fokus zeitgenössischer, amerikanischer Photographen : Gregory Crewdson, Cindy Sherman, Stephen Shore, Taryn Simon, Alec Soth / Verena Hertz. Betreuer: Burcu Dogramaci." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2013. http://d-nb.info/1105373835/34.
Full text
28
Stricker, Kirsten E. "The Absence That Is Present: Civil War Photography. 1862-2015." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491567573460185.
Full text
29
Corp, Mathieu. "Des expériences du temps dans la photographie latino-americaine contemporaine." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA093/document.
Full textAbstract:
Les images exposées sous l’appellation de photographie latino-américaine varient selon les expositions où commissaires et critiques déterminent les critères qui légitiment la sélection et l’organisation des images. Seuls des partis pris curatoriaux semblent ainsi gouverner des choix dont les enjeux éthiques et esthétiques diffèrent et découper les expositions par des catégories thématiques et des textes exégétiques des œuvres où, depuis les années 1990, l’usage récurrent des termes « histoire », « mémoire » et « identité » contribue à attribuer des significations moins géographiques qu’historiques à l’adjectif latino-américain. Nous nous proposons de montrer comment des expériences du temps sont configurées par les artistes dans leurs images par bien des modalités plastiques, comment les images sont capables d’établir, depuis et en fonction du présent, des rapports avec le passé. Selon une approche sémantico-pragmatique, nous analysons les références employées dans les images et dans les textes pour mesurer les implications contextuelles des rapports temporels, tandis que les modalités plastiques qui les traduisent nous permettent d’en interpréter le sensDuring an exhibition, images displayed under the rubric of Latin-American photography vary according to the criteria retained by both curators and critics who legitimate their selection as well as their organisation. Curatorial biases can on their own determine choices with changing ethical and aesthetic implications and thus influence the shape taken on by exhibitions according to the thematic categories retained and the textual commentaries proposed for works whose Latin-American meanings, ever since the 1990s, are less affected by geographical considerations than by historical ones. In this thesis, it is our intention to show, first, how artists, using a plethora of plastic means, impart shape and form to experiences of time and, second, how images, through and according to the present moment, can establish various relationships with the past. Enlisting a semantic-pragmatic approach, we analyse the references established by images and texts in order to measure the contextual implications borne by their temporal relations; at the same time, the plastic modalities given to these temporalities allow us to interpret their meaning
30
Rehman, Sadia. "This is My Family: An Erasure." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492399220029598.
Full text
31
Askam, Richard. "Memory, truth and justice: A contextualisation of the uses of photographs of the victims of state terrorism in Argentina, 1972-2012: Communicating an intersection of art, politics and history." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1339.
Full textAbstract:
Photographs of the victims of Argentine state terrorism from 1972 to 1983, and most prominently those of the detained-disappeared victims of the Proceso de Reorganización Nacional dictatorship (1976-1983), have had a significant role in elucidating the demands of human rights activists since the aftermath of the Trelew Massacre in 1972. In this thesis I examine the role of photographs of victims of state terrorism in the construction of unofficial, or counter, narratives critical of those produced by two dictatorships and by elected democratic administrations in the demand for truth and justice, and in the construction of social memory. I discuss how the photographs have operated during distinct historical periods and the threads that have emerged in response to the longer timeframe of state terrorism (1972-1983), in terms of what sociologist Daniel Feierstein (2011) calls explanatory frameworks. Feierstein’s term looks at how state terrorism has been approached in distinct political periods. Those explanations include war and genocide
In order to answer the questions; how do bodies of photographs articulate and at times drive political and social debates regarding state repression in Argentina, and how are they used to frame an understanding of state violence during changing political conditions?, the study embeds the use of photographs by artists and activists within an extensive historical narrative constructed from the data retrieved from a number of key publications from the 1970s and 1980s and archival documents and photographs held by human rights organisations in Argentina.
The study addresses significant gaps in existing scholarship. Much existing literature focuses on the Mothers of the Plaza de Mayo’s use of photographs of the detained-disappeared victims of the Proceso de Reorganización Nacional during that dictatorship. These analyses are dominated by the application of Barthesian photographic theory that rests on photography’s capacity to simultaneously represent absence and presence (Barthes, 1981; Longoni, 2010; Tandeciarz, 2006; Taylor, 2002). That period is one significant part of a longitudinal campaign conducted in Argentina from 1972. This thesis furthers the discussion, particularly in the examination of the continued use of photographs by one of the two factions of the organisation; the Mothers of the Plaza de Mayo: Founding Line, following the organisation’s 1986 split, and by an examination of the role of a small number of photographs of victims taken in a Clandestine Detention Centre (CDC).
From the Proceso the use of photographs has been informed by the imposition of limits with respect to information on the fate of victims and by the demand for information on the victims. The small number of state produced photographs or repressive photographs (Sekula, 1986) emerged into the public realm in 1984 and formed part of the records produced for all victims held in Clandestine Detention Centres.
Allan Sekula’s honorific and repressive photographic poles underpins my analysis of the importance of photographs during distinct political periods and their uses in art works, the legal arena, and in demonstrations. I examine how those repressive and honorific (Sekula, 1986) and disciplinary photographs (Tandeciarz, 2006) which originated in the family realm or non repressive state agencies have underpinned the pursuit of truth and justice. Only through an extensive examination do core aspects of the uses of photographs of victims of state terrorism emerge with clarity.
32
Chance, Helena M. F. "'The Factory in a Garden' : corporate recreational landscapes in England and the United States, 1880-1939." Thesis, University of Oxford, 2010. http://ora.ox.ac.uk/objects/uuid:98e6efda-ea51-4bbd-834d-a606fcd5eec7.
Full textAbstract:
From the 1880s, a new type of designed green space appeared in the industrial landscape in England and the USA - the factory pleasure garden or park. At the same time, industrialists began to enhance their office and factory buildings with landscaping and planting, and some opened allotment gardens for the children of factory workers. The making of gardens and parks around or near office and factory buildings, designed by professionals, was driven by belief in the value of gardens and parks to recruitment and retention of staff, to industrial welfare, and to advertising, corporate identity and public relations. The thesis will show how industrialists appropriated the historical, cultural and metaphorical meanings of gardens in a bid to redefine industry as progressive and responsible and to shift the image of factory labour from unhealthy and exploitative to healthy, caring, respectable and sociable. The thesis will argue that companies employed landscape professionals to contribute to a positive image of industry and industrial development in the suburban or rural landscape, and to harmonise industry and nature. It will show how the factory gardens and parks supported numerous and varied opportunities for outdoor recreation that in some districts would not have been so readily accessible to working people, particularly to women and young people. The thesis will show how companies exploited the social and cultural capital of gardens and recreation space through photography, illustration and film for promotional purposes. It will suggest that although the sporting and other outdoor recreational opportunities at factories were likely to be beneficial to many, the greater value to companies of factory pleasure gardens was in advertising and public relations. The thesis will build on existing research that highlights the valuable contribution of industry to sports and recreation provision in this period. It will also suggest that industry had more influence on gardens and gardening than is currently understood.
33
Click, Sally Evelyn. "Melvene Draheim Hardee music maker and dreamer of dreams /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237838404.
Full text
34
Morin, Alice. "Au cœur des magazines ˸ de collaborations en négociations, le système des images de mode américaines (années 1960-années 1980)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA109.
Full textAbstract:
Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuronThis doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core
35
Thomas, Margaret Frances 1941. "Through the lens of experience: American women newspaper photographers." Thesis, 2007. http://hdl.handle.net/2152/3506.
Full textAbstract:
As eyewitnesses to history, American women newspaper photographers occupy ringside seats as they cover local, national or international events. Their names are credited under countless images printed in daily and weekly papers, yet viewers seldom consider how the private lives of individual women intersect with their profession. Regrettably their narratives are absent from most photographic and journalism histories. Female news photographers constitute less than 25% of this male-dominated profession. To comprehend how newsroom culture informed both professional and personal experience, extensive life histories were collected from thirty women who consented to participate in this study. As a means of painting a more complete picture of issues encountered during their careers, the group was chosen to reflect geographical location, age, ethnicities, and sexual preference. Participants were asked how they balanced career aspirations, personal relationships, and self-worth in context of the changing roles of women. What choices have they made? What compromises? Did their experiences change over decades or do some issues remain essentially the same? What kind of discrimination, if any, did they experience in their job and how did they respond? Did ethnic cultures or social mores clash with their career choice? Also explored were statements regarding education, parental professions, marital status, family dynamics, life changes, and stressors. On assignment and in the newsroom their presence has helped change social assumptions but because their profession straddles both journalism and photography, researchers have ignored much of their work. Naomi Rosenblum, author of A History of Women Photographers, cites only a few newspaper photographers and describes pictures produced by women photographers in the 1940s and 1950s as "pedestrian" in quality. Current photographic history is not false, but rather one-sided. Stories shared by the women of this study, whose collective experience spans over fifty years, offer insights to young women who will be working as news photographers in the future and refute benighted scholarly assumptions that women newspaper photographers have no history worth remembering.
36
Van, Genderen Kate. "Evelyn Cameron: a study in three parts of her photography, diary, and life in Montana." Thesis, 2017. https://dspace.library.uvic.ca//handle/1828/8546.
Full textAbstract:
Evelyn Jephson Cameron (1868-1928) was born to a wealthy merchant family outside London. At the age of twenty-five, she moved to Terry, Montana to raise horses and homestead with her husband, Ewen Cameron. Evelyn Cameron recorded their time in eastern Montana in her daily diary entries, which span over thirty-five years from 1893 to 1928. She became a self-taught professional photographer, and made thousands of photographs with large-format cameras of the people in the towns of Terry, Fallon, and Marsh. She photographed the landscape, birds, and other animals she kept as pets or encountered in the wild. She wrote in her private diary nearly every day, offering a first-person point of view of life for women in the late nineteenth-century in the American West. This thesis focuses on three particular aspects of Cameron’s life. The first chapter focuses on spaces or mediums that Cameron had access to that offered her autonomy and privacy, things which were often difficult for women to find at this time. These spaces and mediums include her photography, her diary, and her darkroom, all of which gave her different sorts of calm or control. The second chapter delves into Cameron’s photographic portraits of herself and other women, looking into how women portrayed themselves and others in the American West. Cameron depicted herself as a part of the natural world, and she also did so when capturing other women. The final chapter analyzes Cameron’s identity as a Montanan, from her conscious choice to move there to her refusal to return to Britain permanently. She gained American citizenship in 1918 and took living in Montana seriously. Her diary reveals a deep awareness of the natural world and records accomplishments and events that help to build and strengthen her relationship with her chosen home.Graduate
2018-08-25
37
Chu, Chung-I., and 朱宗乙. "American Photographer Milton Miller's “Chinese” Portrait Style and Chinese Photographer's Response in the Nineteenth-Century." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/66ngeq.
Full textAbstract:
碩士國立中央大學
藝術學研究所
106
The main idea of this thesis is that “Chinese” portrait style photos created by American photographer Milton Miller in the 1860s, the special feature of this group of photos was to point out the photography in the nineteenth century China's spread, adaptation and adjustment process, as well as penetrated some of Chinese cultural, technical and business-oriented. From the works, in addition to look at the Western photographers how to be influenced by the Chinese art tradition; similarly, this essay has shown that as the craft of photography in China became well honed, the conventions of Chinese painting were as likely to be embraced as avoided. In the competition with the Western photographers, Chinese photographers how to use their own way to understand and use these Western technology, is also to deal with.
38
Wang, Han-chih, and 王涵智. "Exploring the American Way: Stephen Shore''s Road Photographs." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/d8j4g3.
Full textAbstract:
碩士國立中央大學
藝術學研究所
96
This thesis focuses on the American road photography. The title “The American way” implies both American highway and the typical American culture and aesthetic. It also suggests a unique genre of Americanism in the history of photography. My arguments are as follows. First, the road photography should be considered as a genre, and it can provide a way of viewing and perception. Second, the study of this genre also offers implications and clues to interpret Stephen Shore’s road photographs in his American Surfaces and Uncommon Places and the contextualization constructing in Shore’s own artistic career and the history of road photography. The first chapter examines the tradition of the road photography, including both Dorothea Lange’s (1895-1965) American Exodus: A Record of Human Erosion (1939) in the 1930s and Robert Frank’s (1924- ) Les Américains (1958) / The Americans (1959) in the 1950s postwar period. By retracing the work from two different decades, the study offers the contexts of the development of the road photography and guides us to analyze Shore’s works. In the second chapter, we will discuss Shore’s artistic experiences in the 1960s, the Highway: An Exhibition in 1970 and Shore’s later American Surfaces. Shore’s American Surfaces infers a follow-up of the Pop art. It reveals spontaneity and intentionally resembles the amateurish snapshots. However, Shore’s photographic approach and concern, which have partially changed from American Surfaces to Uncommon Places, composes a different way of viewing. Besides, the popular images upon the road also inspire road photographers. Through Uncommon Places, Shore maintained the tradition established by his predecessors. He also explored the frontiers and embodied the authentic situation on the road. In the last chapter, I will argue the demonstration of the vernacular landscape in 1970s presented by Shore and his contemporaries. It includes Robert Adams (1937- ) and the exhibition New Topographics: Photographs of a Man-altered Landscape (1975) which contains both Robert Adams’s and Shore’s works. In addition, it is William Eggleston (1939- ) that brought color into the art photography together with Shore at the same time. Furthermore, Joel Sternfeld’s (1944- ) American Prospects (1987) is completed by similar road trips and the large format camera with Shore. By comparing the interrelation of these photographers do help us not only reconstruct the atmosphere of that time, but also clarify Shore’s key position in the history of photography. Road photography is complex due to various aspects of history, culture and society of the United States. It is still an ongoing art which displays observations and experiences related to the highway. Shore’s road photographs manifest the zeitgeist, and also demonstrate the tradition on the road and the visual vocabularies that continue to develop.
39
Sobel, Rebekah. "Birthright Israel : identity construction through travel and photographs for American Jewish youth /." 2003. http://wwwlib.umi.com/dissertations/fullcit/3081789.
Full text
40
Siegel, Elizabeth. "Galleries of friendship and fame : the history of nineteenth-century American photograph albums /." 2003. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3088787.
Full text
41
Siegel, Elizabeth Ellen. "Galleries of friendship and fame : the history of nineteenth-century American photograph albums /." 2003. http://wwwlib.umi.com/dissertations/fullcit/3088787.
Full text
42
Schoenberg, Tatyana Borisovna. "Differences and similarities in perception of landscape photographs between American-English, Spanish-Catalan and Russian speakers." 2008. http://proquest.umi.com/pqdweb?did=1594497811&sid=8&Fmt=2&clientId=39334&RQT=309&VName=PQD.
Full textAbstract:
Thesis (Ph.D.)--State University of New York at Buffalo, 2008.Title from PDF title page (viewed on Jan. 28, 2009) Available through UMI ProQuest Digital Dissertations. Thesis adviser: Mark, David M. Includes bibliographical references.
43
Brubacher, Sara Beth. "African American working class clothing as photographed by William E. Wilson and Robert E. Williams : 1872 to 1898." 2002. http://purl.galileo.usg.edu/uga%5Fetd/brubacher%5Fsara%5Fb%5F200205%5Fms.
Full text
44
Voelker, Emily Leslie. "From both sides of the lens: anthropology, native experience & photographs of American Indians in French exhibitions, 1870-1890." Thesis, 2017. https://hdl.handle.net/2144/27331.
Full textAbstract:
This dissertation considers photographs of American Indians in Parisian exhibitions between 1870 and 1890 as part of a mobile and dynamic visual culture in the larger Atlantic World and as the embodiment of performative cross-cultural encounters. The project analyzes western American survey photographs disseminated abroad, as well as pictures of Native performers taken in the French capital. The study ranges from John K. Hillers’s output for John Wesley Powell and William Henry Jackson’s work for Ferdinand V. Hayden to the photographic albums of Prince Roland Bonaparte, the grandnephew of Napoleon I. Active in French scientific circles, Bonaparte photographed Plains Indian performers in 1880s Paris. Working within the developing fields of American and French anthropology, these photographers and their project directors transmitted pictures internationally in order to present their respective nations as scientific and political powers and showcase American Indians as figures of competing national patrimonies.
Composed of four case studies based on exhibitions, the study challenges readings grounded solely on the original imperialist intentions of the objects’ producers. Instead, a transcultural perspective examines American Indian agendas and circumstances in these photographic exchanges. The dissertation also traces the changing meaning of these pictures over time. Chapter One analyzes a set of Hillers’s photographs of Hopi villages sent to the Société de géographie de Paris in 1877 by Powell as part of an international competition to claim authority regarding Southwest cultures. Chapter Two examines Jackson and Hayden’s Photographs of North American Indians (1878) similarly given to the Société d’anthropologie de Paris in 1879 in this culture of rivalry. However, a close reading of the volumes’ delegation portraits disrupts the imperialist framing of its text. Chapter Three explores Bonaparte’s album, Peaux-Rouges (1884) of frontal and profile photographs of Umonhon (Omaha) at the Jardin d’acclimatation and argues that references to performance and histories of contact subvert its essentializing physical anthropology approach. Chapter Four reads Bonaparte’s volumes of Buffalo Bill’s Wild West in Paris for the 1889 Exposition Universelle. Here, allusions to intercultural exchanges of the Lakota performers abroad, as show members and tourists, also challenge a hegemonic interpretation of Bonaparte’s anthropological photographs.2020-01-25
45
"Visual Narratives of The Old West: How Arizona Old Western Towns Communicate History to Contemporary Tourists." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25866.
Full textAbstract:
abstract: The history of the American Old West has frequently been romanticized and idealized. This dissertation study explored four Arizona towns that developed during the era of the American Old West: Tombstone, Jerome, Oatman, and Globe. The study broadly examined issues of remembering/forgetting and historical authenticity/myth. It specifically analyzed historic tourist destinations as visual phenomenon: seeking to understand how town histories were visually communicated to contemporary tourists and what role historically-grounded visual narratives played in the overall tourist experience. The study utilized a visual methodology to organize and structure qualitative data collection and analysis; it incorporated visual data from historic and contemporary photographs and textual data from observations and interviews. Through a careful exploration of each town's past and present, the research proposed a measure to assess how the strength of visual connections between past and present impacted tourist impressions of each town. The analysis suggested that, due to a general lack of historic knowledge, tourist impressions were more closely connected to contemporary experiences and prior expectations of the American Old West than to historically-grounded visual narratives.Dissertation/Thesis
Doctoral Dissertation Communication 2014
46
Charland, Thara. "L'été au Parc Belmont ; suivi de, Cartographies du père." Thesis, 2020. http://hdl.handle.net/1866/25239.
Full textAbstract:
L’été au Parc Belmont est un recueil de fragments qui allie prose narrative, photographies d’archives familiales, écriture manuscrite et dessins. Le récit relate l’enquête d’une narratrice sur l’identité de son père et la difficile mise au tombeau de celui-ci. Dans ce projet d’exhumation du passé paternel, la parole phagocytante de la narratrice rassemble toutes les informations qu’elle peut trouver et demeure l’unique énonciatrice du récit. C’est dans une temporalité ressassante, mélancolique et non linéaire que se déroule l’intrigue; entre l’enfance du père le long de la rivière des Prairies, son adolescence à Cartierville et sa vie adulte dans une ville de banlieue, le présent de l’enquête vient faire irruption. Le recours à des archives familiales sous forme de photographies et de vidéos pour l’élaboration de ce recueil problématise le rapport entre le texte et l’image. Ainsi, les photographies sont utilisées de diverses manières : photos qui apparaissent dans le texte sans qu’on les convoque directement, photos dont est donnée une ekphrasis elliptique ou falsifiée, photos accompagnées de légendes détournées, etc.
Cartographies du père propose une réflexion sur les liens qu’entretiennent le topographique et le biographique dans les textes littéraires contemporains. Dans le cadre de cet essai, je m’intéresse à un corpus doublement mixte : québécois et américain, mais également narratif et graphique. L’étude porte plus exactement sur trois autrices et auteurs, soit Alison Bechdel (Fun Home : A Family Tragicomic, 2006), Hervé Bouchard (Harvey ou Comment je suis devenu invisible, 2009) et Catherine Mavrikakis (La ballade d’Ali Baba, 2014). Au-delà des rapports entre transmission et lieu, les textes de mon corpus sont liés par la mort du père, perte indépassable, événement toujours à investiguer pour les narratrices et narrateurs. Il s’agit non seulement d’analyser la manière dont ces textes thématisent l’absence paternelle ainsi que les difficultés et les apories de la transmission qui en découlent, mais aussi de quelles façons ils représentent le lieu, jouent avec l’espace de la page, mobilisent les outils de la cartographie et décrivent les trajets. Pour ces héritières et héritiers, la reconstruction d’un événement ou d’un passé familial passe nécessairement par une reconstitution du lieu, qu’il soit la campagne de la Pennsylvanie, la maison familiale des Bouillon ou le chemin entre Montréal et Key West. L’analyse de cette reconstitution du lieu informe le lecteur du rapport que l’héritier entretient avec la figure paternelle. Cartographies du père offre également une réflexion sur l’acte de raconter l’autre et sur les recours fictionnels inévitables que cette entreprise oblige.L’été au Parc Belmont is a collection of fragments that combines narrative prose, family archive photographs, handwriting and drawings. In this story, the narrator is investigating her father’s identity. The narrator gathers all the information she can find and remains the sole enunciator of the story in her attempt to exhume the paternal past. The plot unfolds in an overwhelming, melancholy and non-linear temporality; between the father’s childhood along the Rivière des Prairies, his adolescence in Cartierville and his adulthood in a suburban town, the narrator’s investigation periodically bursts in. The use of family archives in the form of photographs and videos problematizes the relationship between text and image. Thus, photographs are used in various ways : photos which appear in the text without being directly referred to, photos which are given an elliptical or falsified ekphrasis, photos accompanied by diverted legends, etc. Cartographies du père offers a reflection on the links between topography and biography in contemporary literary texts. In this essay, I am studying a corpus that is both Québécois and American, as well as narrative and graphic. The study focuses on three authors : Alison Bechdel (Fun Home : A Family Tragicomic, 2006), Hervé Bouchard (Harvey ou Comment je suis devenu invisible, 2009) and Catherine Mavrikakis (La ballade d’Ali Baba, 2014). Beyond the relationships between transmission and locales, the texts of my corpus are linked by the father’s death, an unsurpassable loss, an event that is yet to be investigated by the narrators. While this essay focuses on the way in which these texts thematize paternal absence –namely through the difficulties and shortcomings of the transmission resulting from this loss – it is also questioning the ways in which the authors represent various locales, play with the space of the page, mobilize mapping tools and describe routes. For these heirs, the reconstruction of a family event or history necessarily involves a reconstruction of the setting, whether it be the Pennsylvania countryside, the Bouillon family home or the road between Montreal and Key West. The analysis of the reconstruction of the locale informs the reader of the relationship that the heir maintains with the father figure. Cartographies du père also offers a reflection on the act of remembering and talking about another person and on the inevitable fictional shifts that this action provoke.