Academic literature on the topic 'Documentary photos'
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Journal articles on the topic "Documentary photos"
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Oreshina, Polina. "Documental photos." Век информации (сетевое издание) 5, no. 3 (August 31, 2021): 25–62. http://dx.doi.org/10.33941/age-info.com53(16)2.
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This article is devoted to identifying and analyzing the mechanisms of traditional visual documentation of protests and the formation of images and symbols in Russian protest photography, as well as its functioning in the modern media space. In this article, we will dwell in detail both on photographs and series of specific documentary artists, and on the functioning of photographs directly in the media space, since political photography is inseparable from the fact of its use in the media. Nevertheless, we will explore visuality to a greater extent and will focus on visual images and symbols of political photography, on the individual practices of photographers in this genre.
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Кляус, Владимир Леонидович. "“The Bulgarian Taiga” of Komi in Naive Cinema and Poetry." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (August 14, 2021): 122–33. http://dx.doi.org/10.26158/tk.2021.22.2.010.
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В статье осмысляется фотодокументальный и поэтический материал, посвященный жизни болгар в Коми АССР в 1960-1990 гг., когда они работали на совместном советско-болгарском предприятии по заготовке леса в Удорском районе республики. Видеоролики на основе фотографий из семейных архивов и стихи, написанные как воспоминания о жизни на севере в СССР, представляют собой своеобразную форму наивной кинодокументалистики и наивной поэзии. И именно это делает их важным источником изучения повседневности болгар - трудовых мигрантов The article analyzes photo-documentary and poetic material devoted to the life of Bulgarians who worked on a joint Soviet-Bulgarian logging enterprise in the Udorsky District of the in the Komi Autonomous Soviet Socialist Republic in 1960-1990. Videos based on photos from family archives and poems written as memoirs of life in the north of the USSR are considered as a naive form of documentary film and naive poetry. This makes them an important source for studying the everyday life of Bulgarian migrant workers.
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Jastrzębski, Wojciech. "Badanie komunikacji partii politycznych na podstawie fotografii publikowanych w Internecie." Dziennikarstwo i Media 9 (April 17, 2019): 37–48. http://dx.doi.org/10.19195/2082-8322.9.3.
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Study of political parties’ communication based on photographs published onlineThis article contains a description of an empirical study the aim of which was to analyze the photographs published online by two Polish political parties: Razem and Wolność KORWiN. A corpus containing 253 images and photos published by the two parties in the forth quarter of 2016 was constructed and a quantitative analysis was performed afterwards. Documentary and portrait photos, which appeared most frequently in the corpora were carefully analyzed on the basis of such factors as: the frequency at which particular persons appeared in the photos, the clothes they were wearing, the type of events depicted in the pictures and the kinds of objects which were shown most often.
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Yaman, Hakan. "The Perception and Views of Photographers on Artistic Photography in Turkey." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 77–84. http://dx.doi.org/10.15294/harmonia.v18i1.14667.
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The purposes of this study are to know generally the perception and view of photographers on artistic photography in a purposeful sample in Turkey. Participants were purposefully selected (purposive sample) from the community of photographers because it would represent diverse photographers in Turkey. The survey included 19 questions and divided into three parts. Findings of our study revealed that most of the participants were at their middle-age, male, married, university graduates, private sector employed, DSLR users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (Hobby). They mainly thought that photos should be taken for documentary reasons. The creativity is mainly dependent on perspective (or photographic seeing). Good photography could be achieved with good photographic technique, a good photo is relying on the influence to the spectator, photo critics/reading should be mainly based on technique, the most influential movement is realism, artistic photography will improve, photography in future will improve, and some are participating in photographic projects. The results show that good grounds exist in Turkey to shape artistic photography for the needs of the 21st century.
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Park, Jong Hyun. ""Floating Diaspora - A study on realization method of documentary photos of comfort women -"." Journal of Basic Design & Art 19, no. 5 (October 31, 2018): 287–98. http://dx.doi.org/10.47294/ksbda.19.5.22.
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Jermakowa, Inna. "Wizualizacja jako narzędzie manipulacji współczesnej wojny informacyjno-hybrydowej. Historia jednej fotografii — „Rozejm w Szyrokinem”." Oblicza Komunikacji 9 (October 30, 2018): 167–74. http://dx.doi.org/10.19195/2083-5345.9.10.
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Visualization as a tool for manipulating the modern information-hybrid war. History of one photo — “The truism in Szyrokine”Documentary nature of photography convinces the viewer that the image is exactly the same as reality. A photo causes trust and this property of photos is repeatedly used in manipulating public opinion. In the report perception means of the image are analyzed. Special attention is paid to the fact how photojournalism becomes the powerful tool in terms of information war against a backdrop of military conflicts. Especially in today’s conditions, when, according to Oksana Zabuzhko: “Era of »bombed cities« passed — the era of »bombed brains« began…”. History of photodocumentary and history in general can argue that wars and disasters always attracted the attention of the news. A photo neutralized the distance between the viewer and the event. But at the same time, in terms of Russian aggression against Ukraine, it became a popular and effective weapon in the “information” or “psychological war”. The meaning and the true scale of this war are often underestimated. It is perceived like a sort of supplement to “main”, “hot” armed phase of the war. But in reality the meaning is reversed: the information war is total. Moreover, the visual aspect of it is paid the main attention. Photos and their variations are successfully used as a technology of hybrid war. The consequences of this are so powerfully felt by Ukrainian media space. To the most used means we include misrepresentations, information provokes, fakes, manipulations, photo collages, false testimonies of witness, fake experts and witnesses and others. These technologies are analyzed in the report as manipulative tools of modern information and hybrid war.
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Behshad, Azam, and Saeed Ghaniabadi. "Visual Analysis of Magazine Covers." International Journal of Linguistics 7, no. 5 (October 19, 2015): 20. http://dx.doi.org/10.5296/ijl.v7i5.8445.
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<p>The aim of this paper is to look into ways in which modes are chosen if signs are produced for interpretation and presentation of theories and meanings. Magazine is a complex collection of signs that can be extensively decoded and analyzed by different factors. The most spectacular components are documentary photos, manipulated images and portrait photos. According to the results, many processes (action, symbolic, reaction, and analytical processes), and strategies (e.g. top vs. bottom strategies and margin vs. center), modality modification and color differentiation, are required in representing and interpreting concepts and meanings in this type of discourse. The discourse analysis used here is accomplished based on Halliday’s model of functional-systematic grammar (1976, 2004), which uses three meta functions to describe different communicational modes.</p>
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Hayik, Rawia. "Exploring the perceptions of passers-by through the participatory documentary photography tool PhotoVoice." Linguistic Landscape. An international journal 3, no. 2 (October 6, 2017): 187–212. http://dx.doi.org/10.1075/ll.3.2.04hay.
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Abstract Research in the linguistic landscape (LL) field underscores the need for investigating the passers-by’s perspectives. To explore how the passers-by perceive LLs, researchers often use questionnaires or interviews. This article suggests the use of an innovative research tool named PhotoVoice (Wang, Burris & Xiang, 1996), to shed light on the perception of signs by Israeli-Arab college students in their ideologically-laden area. After familiarizing the students with PhotoVoice and guiding questions for examining LLs, they were asked to capture photos of signs within their localities, analyze the messages embedded within, and write commentaries voicing their reflections. Thus, students themselves became both the data collectors and the analyzers. One of the highlighted categories was the absence of Arabic from commercial signs produced by Arab business owners. Students’ “PhotoVoices” within this category reflected not only the linguistic reality of the commercial signs within Arab localities, but also the ways such space was experienced by them as local inhabitants. Such findings demonstrate how, through PhotoVoice, LLs can become a stimulus for profound cognitive and emotional reflections of passers-by toward the LL.
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Ganzha, Anhelina. "Polyphonizm of narrative in documentary film (On the case of films about P. Tychyna, M. Rylskyi, V. Sosiura)." Culture of the Word, no. 90 (2019): 150–64. http://dx.doi.org/10.37919/0201-419x-2019.90.13.
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Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters. The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product. The article offers the authorʼs vision of realization of the polyphonism of the film narrative in the documentaries “I Call You” (2006), “Poeta Maximus” (2008), “So No One Loved” (2008) from the series “Game of Fate”. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series. Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the “chronicle of the epoch” with the off-screen reading of an excerpt from an artistic text), photos and video snippets).
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Purwaningtyas, Novi Anjar, and Sri Ayem. "ANALISIS FRAUD PENTAGON DALAM MENDETEKSI KECURANGAN LAPORAN KEUANGAN." Kajian Bisnis Sekolah Tinggi Ilmu Ekonomi Widya Wiwaha 29, no. 1 (January 25, 2021): 69–91. http://dx.doi.org/10.32477/jkb.v29i1.239.
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This study aims to see the effect of Pentagon fraud on reporting fraudulent financialstatements.The variables of this research are Pentagon Fraud which consists offinancial stability, external pressure, financial targets, nature of the industry,ineffective monitoring, auditor turnover cycle, audit opinion, total accruals, changesin directors, number of CEO photos installed, number of CEO photos installed. ,dualism of positions, good corporate governance and fraudulent financialstatements. The sampling technique was purposive sampling. Secondary datasources. The data collection method uses the documentary method. The analysistechnique used is logistic regression analysis with a significance level of 5%. Theresults showed that financial targets, external certainty, political relations, have apositive and significant effect on fraudulent financial statements. Good CorporateGovernance has a negative and significant effect on fraudulent financial statements.Financial stability, external guarantees, ineffective monitoring, CEO image, dualismof positions, audit opinion have no significant positive effect on fraudulent financialstatements. The nature of the industry, the change of auditors, the change ofdirectors and TATA have a negative and insignificant effect on fraudulent financialreports. Pentagon fraud affected the fraudulent financial statements by 89.4%.10.6% The remaining 10.6% other supporting factors are not included in thisresearch model.
Dissertations / Theses on the topic "Documentary photos"
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Stacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.
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The job of a historian is to understand what happened in the past, resorting in many cases to written documents as a firsthand source of information.
Text, however, does not amount to the only source of knowledge. Pictorial representations, in fact, have also accompanied the main events of the historical timeline. In particular, the opportunity of visually representing circumstances has bloomed since the invention of photography, with the possibility of capturing in real-time the occurrence of a specific events.
Thanks to the widespread use of digital technologies (e.g. smartphones and digital cameras), networking capabilities and consequent availability of multimedia content, the academic and industrial research communities have developed artificial intelligence (AI) paradigms with the aim of inferring, transferring and creating new layers of information from images, videos, etc.
Now, while AI communities are devoting much of their attention to analyze digital images, from an historical research standpoint more interesting results may be obtained analyzing analog images representing the pre-digital era.
Within the aforementioned scenario, the aim of this work is to analyze a collection of analog documentary photographs, building upon state-of-the-art deep learning techniques.
In particular, the analysis carried out in this thesis aims at producing two following results: (a) produce the date of an image, and, (b) recognizing its background socio-cultural context,as defined by a group of historical-sociological researchers.
Given these premises, the contribution of this work amounts to: (i) the introduction of an historical dataset including images of “Family Album” among all the twentieth century, (ii) the introduction of a new classification task regarding the identification of the socio-cultural context of an image, (iii) the exploitation of different deep learning architectures to perform the image dating and the image socio-cultural context classification.
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Bouveresse, Clara. "L'invention d'une académie : Magnum Photos, 1947-2015." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H001.
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Institution mythique du monde de la photographie, l’agence Magnum, fondée en 1947 par un groupe de photographes entrepreneurs, est plus qu’une coopérative. Dans l’histoire de la photographie de la seconde moitié du XXe siècle, c’est un modèle prestigieux pour l’ensemble de la profession, qui revendique son excellence et défend un canon d’images d’exception. Magnum ne serait-elle pas davantage une académie,institution éternelle et renommée, où l’on entre par cooptation ? Cette thèse propose, à partir de l’étude d’archives inédites, de retracer l’histoire de Magnum. Le prisme académique permet d’articuler l’évolution économique d’une entreprise, l’analyse des images produites, le récit des débats d’un groupe de photographes, l’histoire de leurs rêves collectifs.La première partie interroge les sources de l’académie, à commencer par la propagation du mythe Magnum et les dix premières années d’existence, lorsque l’agence fait corps avec le monde cosmopolite de l’après-guerre. La deuxième partie analyse le renouvellement académique de la fin des années 1950 à 1981, de la refondation d’une photographie engagée dans l’urgence mémorielle des années 1960,à la réponse cynique face au péril conformiste et commercial des années 1970, en passant par la dialectique coopérative qui déchire et réconcilie les membres. La troisième partie montre comment l’académie revendique son immortalité de 1981 à nos jours, s’imposant comme un monument patrimonial et une référence sur le web, et revient sur l’histoire des femmes à Magnum.Cette thèse met en lumière un chaînon méconnu de la production des photographies.Magnum est un point nodal qui définit la valeur économique des images, leur statut juridique, leurs usages commerciaux, journalistiques, documentaires et artistiques au sein de circuits de diffusion et de légitimation. Plateforme d’échanges partagée par plusieurs auteurs, Magnum invite à repenser, à l’heure de l’économie collaborative connectée, l’histoire et le rôle des « communs »Founded in 1947 by a group of entrepreneurial photographers, Magnum Photos, amythic institution in the world of photography, is more than a cooperative.Throughout the second half of the 20th century, it remained a prestigious model for the whole profession, claiming its excellence and promoting a canon of exceptional images. More than a mere agency, may Magnum be seen as an academy, a prestigious institution whose access is controlled by peers? The concept of an “academy” brings together the economic evolution of a business, the analysis of the pictures produced,the account of numerous debates amongst photographers, and the story of their collective dreams.This dissertation offers to retrace Magnum’s history, based on the study of unpublished archives. The first part investigates the sources of the academy, starting with the dissemination of Magnum’s myth and the first ten years of existence, when the agency was at one with the post-war cosmopolitan world. The second part analyzes the academic renewal from the end of the 1950s until 1981. It explores there-rooting of concerned photography into the memory urge of the 1960s; thecooperative dialectics, which divided and reconciled Magnum members; and the cynical answer to the conformist and commercial threats of the 1970s. The third part demonstrates how the academy claims its everlasting fame from 1981 until today,establishing itself both as a heritage landmark and an online reference; it alsointerrogates the history of women within Magnum.This dissertation sheds new light on a little-known stage of photographs’ production.Magnum is a nodal point defining the economic value of images, their legal status,their commercial, journalistic, documentary and artistic uses within circulation and legitimating networks. As an exchange platform shared by many authors, it invites us to rethink, within the context of a digital and collaborative economy, the history and the role of the “commons”
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Chiodetto, Eder. "Fotojornalismo: realidades construídas e ficções documentais." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-05072009-232727/.
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Nossa trajetória no fotojornalismo, marcada por treze anos de trabalho como repórter-fotográfico e editor de fotografia na Empresa Folha da Manhã S.A. nos permitiu conhecer minuciosamente, na prática, o processo de construção de uma imagem fotojornalística. Apesar da produção internacional relativamente abundante e de trabalhos brasileiros de renomados profissionais da área, a produção teórica sobre os aspectos da fotografia no contemporâneo é ainda incipiente no Brasil, principalmente no que diz respeito às inovações tecnológicas e seu impacto no fotojornalismo. Entre as questões mais instigantes da pesquisa e da teoria da imagem estão as tensões entre realidade e ficção e ética e ideologia. Segundo os parâmetros aceitos nas redações, uma boa fotografia é aquela que consegue aliar a precisão da informação com uma contundente beleza plástica. No fotojornalismo, mais que em qualquer outra modalidade de uso da fotografia, o registro fotográfico tem a necessidade de ser entendido, em sua gênese, como um documento, como um atestado comprobatório não apenas de que o fato aconteceu, mas que o mesmo ocorreu tal qual podemos observar na fotografia publicada no veículo. Como pensar então em informação precisa ou em verdade se sabemos de antemão que quando o fotógrafo documenta um acontecimento no espaço-tempo ele está invariavelmente, no ato fotográfico, descolando aquele recorte do real de seu contexto, interpretando o fato de acordo com sua cultura e sua ideologia? No fotojornalismo, essas tensões se revelam sobretudo na busca do equilíbrio possível entre informação e plasticidade, entre a sua natureza noticiosa que o obriga a se manter fortemente conectado a um referente e sua necessidade de conquistar a atenção do olhar do leitor contemporâneo, numa árdua batalha travada nas páginas de jornais e revistas com as imagens idealizadas e tecnicamente perfeitas da publicidade. Neste sentido, esta dissertação, que surge a partir da experiência de quem conheceu os mecanismos que regem o surgimento e a efetuação de uma pauta fotográfica na grande imprensa, pretende contribuir para ampliar o espaço desta reflexão na produção brasileira. Além disso, visamos analisar, ao cruzar a nossa experiência com a bibliografia contemporânea acerca da representação dos fatos na mídia impressa, as possíveis transformações ocorridas no conceito de documento fotográfico no período que vai da implantação da cor na impressão dos jornais diários brasileiros até o momento atual, passando pelo ingresso das câmeras digitais nas redações dos jornais. E, por fim, objetivamos também mostrar, por meio de imagens de violência recolhidas na mídia impressa, como esse processo pode corroborar para que os fotojornalistas e suas empresas façam, inconscientemente ou não, o uso da fotografia como uma ferramenta de criação, propagação e perpetuação de estigmas e preconceitos na sociedade. Sistematizar teórica e criticamente nossa experiência profissional obtida ao longo do trabalho como jornalista, repórter-fotográfico e editor de fotografia e, dessa forma, contribuir para a discussão acerca da profissão por nós escolhida, é um dos principais motivos que nos levaram a propor como objeto desta pesquisa uma análise do fotojornalismo a partir da sua produção desde diferentes perspectivas.Our trajectory in photojournalism, marked by thirteen years of work as a reporter and photographic editor of the company Empresa Folha da Manhã S.A. allowed us to know, in practice, the process of creation an photojournalistic image. Despite the international production relatively abundant and the work of renowned Brazilian professionals in the area, the production on the theoretical aspects of photography in contemporary is still incipient in Brazil, especially with regard to technological innovations and their impact on photojournalism. Among the most instigatings issues of research and theory of the image are the tensions between reality and fiction and ethics and ideology. According to the editors accepted parameters, a good photograph is one that can combine the accuracy of the information with a convincingly plastic beauty. In photojournalism, more than any other mode of use of the photograph, the photographic record needs to be understood in its genesis, as a document such as a real certificate not only that the fact happened, but that it happened just the we see in the photograph published in the vehicle. Since then, how can we think on accurate information or true if we know in advance that when the photographer documents an event in space-time it is invariably, in the photographic act, unstick that cut of reality of its context, interpreting the fact based on his culture and his ideology? In photojournalism, these tensions are revealed especially in the search of the possible balance between information and plasticity, and its nature that requires that the news remains strongly connected to a referential and their need to win the attention of the readers contemporary look, in a tough battle fought on the pages of newspapers and magazines with the idealized and technically perfect images of advertising. Therefore, this dissertation, which arises from the experience of those who knew the mechanisms that govern the appearance and the execution of a photographic pauta, seeks to expand the space for discussion in the Brazilian production. Also, aim to analyze, by crossing our experience with the contemporary literature about the representation of the facts in press, the possible changes in the concept of photographic as a document, from the period of deployment of colors in printing the brazilianss newspaper untill today, and the advent of digital cameras in editors of newspapers. Finally, we also intend to show, throughout images of violence gathered in press, how this process can corroborate to the photojournalists and their enterprises to do, unconsciously or not, the use of photography as a tool for the creation, propagation and perpetuation of stigmas and prejudices in society. To systematize theoretical and critically our experience obtained during our career as a journalist, editor-reporter of photography and thus contribute to the discussion about the profession we have chosen, is one of the main reasons that led us to propose as the subject of this research an analysis of photojournalism from its production from different perspectives.
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Day, Meredith. "The New York City Photo League : determining influence through depth interviews with scholars, historians and curators /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422920.
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Campaneli, Juliana Okuda. "A fotografia documental no museu de arte: dissonâncias e consonâncias." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-04042013-092536/.
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Essa dissertação tem como objetivo principal identificar os mecanismos envolvidos na inserção da fotografia documental em museus de arte, durante a década de 1970, na cidade de São Paulo. São apresentados três estudos de caso sobre exposições fotográficas, de caráter temático, realizadas nesse período: A família Brasileira, realizada no Museu de Arte de São Paulo, em 1971; Xingu/Terra, parte integrante da 13ª Bienal Internacional de São Paulo, em 1975; e Bom retiro e luz: um roteiro, na Pinacoteca do Estado de São Paulo, em 1976. A análise dos formatos das mostras e dos processos envolvidos em sua realização revelam dissonâncias e consonâncias entre os objetivos e interesses de seus proponentes e/ou realizadores. As exposições também são investigadas do ponto de vista das relações políticas da época, pois há a intenção de identificar as funções sociais adquiridas pela fotografia em seu processo de institucionalização.This dissertation aims to identify the main mechanisms involved in the inclusion of documentary photography in art museums during the 1970s, in São Paulo. It presents three case studies about thematic and essay format photo exhibitions, accomplished at this period: A família brasileira, held at the Museu de Arte de Sao Paulo, in 1971; Xingu/Terra, part of the 13th Bienal International São Paulo, in 1975, and Bom retiro e luz: um roteiro in the Pinacoteca do Estado de Sao Paulo, in 1976. The analysis about the exhibitions formats and processes involved in their realization reveals dissonances and consonances between the purposes and interests of their proponents and/or directors. The exhibitions are also investigated from the standpoint of political relations of the time, because the intention is to identify the social functions of photography acquired in the process of its institutionalization.
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Barrere, Laetitia. "La photographie documentaire à l'épreuve du modernisme au "Museum of Modern Art" de New York (1937-1970)." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010594.
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Cette thèse est consacrée aux questions de réception et d'institutionnalisation de la photographie documentaire et de la photographie de reportage à partir de 1937 jusqu'aux années 1970 au Museum of Modem Art (MoMA) de New York. Le premier chapitre revient sur la genèse et les enjeux de l'instauration de la straight photography comme canon d’une tradition esthétisante du médium et éclaire l’influence de la critique formaliste dans l'émergence d'un modernisme documentaire, exemplifié par la production de Walker Evans. De nombreux photographes dont les pratiques ne correspondaient pas aux idéaux de perfection technique de la straight photography ont de exclus des circuits de légitimation institutionnelle, en particulier les membres de la Photo League de New York. La photographie documentaire urbaine, développée en dehors de la doxa moderniste, fait l'objet du deuxième chapitre de cette étude. A. cet égard, une attention particulière est consacrée à l'œuvre critique d'Elizabeth McCausland, principale porte-parole de la fonction sociale de la photographie. Le troisième chapitre se concentre sur la période de l’après-guerre. Dans ce nouveau contexte, les Américains sont à la recherche de nouveaux canons artistiques, qu'ils trouvent dans la photographie de reportage française, dont Henri Cartier-Bresson représente le chef de file. Ce chapitre dévoile les intérêts diplomatiques du modernisme dans les échanges transatlantiques avec la France, ainsi que ses intérêts économique à travers l'exemple d'André Kertész dont l'exposition au MoMA suscite l'envol de sa cote sur le marché naissant de la photographie dans les années 1970This thesis is dedicated to questions of reception and institutionalization of documentary photography and reportage photography from 1937 through to the 1970s at the New York Museum of Modern Art (MoMA). The first chapter looks at the development and objectives of the advent of straight photography as a canon or an aestheticizing tradition of the medium, and sheds light on the influence of formalist criticism in the emergence of a form of documentary modernism, exemplified by the works of Walker Evans. Many photographers whose practices do not correspond to the ideals of technical perfection of straight photography were excluded from the circuits of institutional legitimization, particularly the members of the New York Photo League, Urban documentary photography, developed outside of the modernist doxa will be the subject of the second chapter of this study. In this respect, particular attention is paid to the critical work of Elizabeth McCausland, a major spokesperson for the social function of photography. The third chapter focuses on the post-war period. ln this new context. The Americans were looking for new artistic canons, which they found in French reportage photography, with Henri Cartier-Bresson leading the fray. Finally, this chapter reveals the diplomatic interests of modernism in Transatlantic exchanges with France, as well as its economic interests, taking André Kertész, as an example, whose exhibition at MoMA caused his works to suddenly rise in value on the inchoate photography market of the 1970s
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Murray, Teisha. "“Comin From Where I’m From:” Exploring Inner-City Youth’s Perception of Their Neighborhood." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305644738.
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Busson, Hurmaci Adeline. "Retour en images sur la vie en RDA : une étude de cas à partir de photo-interviews biographiques pour une nouvelle apporche de la question identitaire." Thesis, Le Mans, 2015. http://www.theses.fr/2015LEMA3009.
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25 années ont passé depuis la chute du mur de Berlin. Cependant, le chemin vers l’« union intérieure », comme l’a prônée Helmut Kohl en 1997, est encore long. Mystification et standardisation marquent le discours normatif et médiatique. Le temps semble être venu de chercher de nouveaux paradigmes ; c’est ce que tente d’apporter ce travail. Par le biais d’un procédé méthodique qualitatif novateur à partir de photo-interviews biographiques analysées avec la méthode documentaire, il propose une nouvelle perspective sur les questions d’identité et de socialisation. L’étude porte sur la façon dont les anciens citoyens de RDA, dans la confrontation avec leurs photos du passé, gèrent « habituellement » (en référence au concept d’habitus) leurs identités personnelle et sociale, ainsi que les attentes normatives. Le but est de reconstruire les structures de savoirs qui guident l’interaction et, allant plus loin, la construction de l’identité du Moi. Il s’agit d’observer si des signes de travail identitaire sont visibles, et si oui, quels sont les facteurs déterminants. À partir de l’analyse des photographies privées et de leur réception, je démontre que les individus disposent de ressources habituelles qui déterminent la construction identitaire. Ces ressources dépendent fortement d’expériences de reconnaissance qui, en partie, ont été expérimentées dans l’environnement primaire (famille et groupe de pairs). Un rôle décisif joue par ailleurs l’expérience d’une « désintégration sociale ». Je montre également que d’éventuelles césures, dans le contexte de la Réunification, étaient primairement dues à des changements à un niveau social et individuel, et non pas systémique25 years have passed since the fall of the Berlin wall. However, the way to an « inner union » –praised by Helmut Kohl in 1997 –is still long. Mystification and standardisation shape the normative and medial discourse. The time seems to have come to search for new paradigmata, which this thesis wants to achieve. With the help of an innovative qualitative methodological approach, this study suggests a new perspective on questions of identity and socialisation. It is based on the analysis of biography-oriented photo-interviews with the documentary method. The examination of how former GDR citizens deal with their photographs of the past, aims at exploring how they « habitually » (referring to the concept of habitus) deal with personal and social identity as well as with normative expectations. The goal of the study is to examine underlying structures of knowledge that guide the interaction and thus the construction of Self-Identity. This project was to observe if signs of identity work can be found and, if yes, which factors are decisive. The study of the private photographs and their reception finally demonstrates that individuals are « equipped » with habitual resources that determine their way of constructing identity. These resources strongly depend on experiences with recognition, which have partially been made by these individuals in the primary environment, such as in the family or amongst peers. Furthermore, the experience of « social disintegration » has a prominent part to play. It can be seen that disruptions, in the context of the Reunification, primarily depend on changes on an individual and social level, and not on a systemic one
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Dias, Katia Helena Rodrigues. "Fotografias para memória: a Escola de Belas Artes de Pelotas através do seu acervo documental (1949-1973)." Universidade Federal de Pelotas, 2012. http://repositorio.ufpel.edu.br/handle/ri/1042.
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Previous issue date: 2012-03-30The Pelotas School of Fine Arts (EBA) ran between the years 1949 to 1973, having been a pioneer in the formal teaching of fine arts in the city of Pelotas/RS. Throughout that period, the school generated a set of documents consisting of text documents and photos that compose the collection of Leopoldo Gotuzzo Museum of Art (MALG), an institution linked to the Arts Center (CA) of the Federal University of Pelotas (UFPel) that currently holds the custody and protection of those documents. This research has as main goal to systematize that collection, since it was not cataloged yet. The systematization of this set of documents, here called EBA Collection, takes in account conservation steps, processing information and accessibility. For the technical development of this research, studies of Belloto, Burgi, Cândido, Paes and Pavão are used. The photographic documents record classes, indoor venues and several happenings, such as social gatherings, exhibitions, graduation events and portraits. The text documents are made up mostly by administrative papers: meeting minutes, letters, statutes, memos, official letters, regulations and news. Therefore, according to the nature of the assembly, the methodology used was the documental analysis of case study of EBA Collection, which is regarded as an evocative of memories object, because while referring our thoughts to the past, the photography itself communicates and contributes to rethink and recreate past experiences, re-signifying them in the present. This work aims to systematize the collection, saving, organizing and keeping items to ensure better conditions of preservation. Then, information is processed towards its methodical organization. For this purpose, tables of photographic and textual elements are created, in which information is arranged according to the information content of each document. All of it with the main goal of preserving and communicating the history and memory of EBA, making the contents thus treated available to several other surveys
A Escola de Belas Artes de Pelotas (EBA) funcionou entre os anos de 1949 a 1973, tendo sido pioneira no ensino formal de artes plásticas na cidade de Pelotas/RS. Ao longo desse período, a escola gerou um conjunto documental composto por fotografias e documentos textuais que constituem o acervo do Museu de Arte Leopoldo Gotuzzo (MALG), instituição vinculada ao Centro de Artes (CA) da Universidade Federal de Pelotas (UFPel) que atualmente detém a guarda e proteção desses documentos. A presente pesquisa tem como principal meta sistematizar esse acervo, uma vez que o mesmo não se encontrava catalogado. A sistematização desse conjunto documental, aqui denominado Coleção EBA, abrange etapas de conservação, tratamento da informação e acessibilidade. Para o desenvolvimento técnico da pesquisa utilizam-se publicações de Belloto, Burgi, Cândido, Paes e Pavão. Os documentos fotográficos registram aulas, ambientes internos e diversos eventos, tais como confraternizações, exposições, formaturas e retratos. Os documentos textuais são constituídos em sua maioria por papéis de cunho administrativo: atas, correspondências, estatutos, memorandos, ofícios, regimentos internos e notícias de jornal. Portanto, de acordo com a natureza do conjunto, foi utilizada como metodologia a análise documental a partir do estudo de caso da Coleção EBA, a qual é considerada como um objeto evocador de memórias, pois ao mesmo tempo em que remete nosso pensamento ao passado, ela, a fotografia, comunica e contribui para repensar e recriar experiências passadas, ressignificando-as no presente. Este trabalho objetiva sistematizar o acervo, conservando, organizando e acondicionando os itens de modo a garantir melhores condições de preservação. Em seguida, a informação é tratada com vistas à sua organização metódica. Para isso, criam-se tabelas de elementos fotográficos e textuais em que as informações são dispostas de acordo com os conteúdos informativos de cada documento. Tudo isto com o objetivo principal de preservar e comunicar a história e a memória da EBA, disponibilizando os conteúdos assim tratados às mais diversas pesquisas
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Chuang, Wanlin, and 莊琬琳. "A Comparative Study on the Contents of Documentary Photos between Taiwan and Mainland China since 1945 till 2010." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/02279378343727413849.
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碩士國立臺中教育大學
美術學系碩士班
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It’s been more than 60 years since 1945 in Taiwan and since 1949 in Mainland China till today.Due to the rapid changes of social structures,the developments in new photographic equipments and gadgets have kept growing as well as the popularity of the digital carriers. This has also dramatically changed the ways how documentary photographers convey and present their ideas in terms of contents, topics and innovation of their works. This study will analyze the works of documentary photographers both in Taiwan and in Mainland China between 1945 and 2010, who were most influential based on their works. They were analyzed and compared based on their issues、motivation、forms and skills. Finally, it will be discussed the differences between Taiwan and Mainland China documentary photographers’ works which had the influence of the idea liberates,and the documentary photographers’works develop quickly.The issues were multidimensional.We compared them by five classifications, the political propagandized, the historical time record, the systems life record, the local custom and tradition, and the humanity concerned. The skills combined the photographer’s motuvation and the technological progress, present a new style of documentary photography.
Books on the topic "Documentary photos"
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Speirs, Derek. Pavee pictures: Photos. [Dublin]: Dublin Travellers Education & Development Group (DTEDG), 1991.
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Salgado, Sebastião. As melhores fotos =: The best photos. São Paulo, Brasil: Boccato Editores, 1992.
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Joëlle, Ody, ed. Derrière l'objectif de Hans Silvester: Photos et propos. Paris: Hoëbeke, 2011.
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Rachel, Deghati, ed. Derrière l'objectif de Reza: Photos et propos. Paris: Hoëbeke, 2010.
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Botte, John. Aftermath: Unseen 9/11 photos by a New York City cop. New York: Regan Books, 2006.
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Walter, Gregory J. Woodstock '69: a new look: Text and photos : Gregory J. Walter. Cranston, R.I: Writers' Collective, 2004.
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"Jian zhu chuang zuo" za zhi she, ed. Chang Jiang jiu ying: 1910 nian dai Chang Jiang liu yu cheng shi jing guan tu lu = The historic photos of Yangtse River : an album of city landscapes in Yangtse River basin in 1910s. Beijing: Zhongguo jian zhu gong ye chu ban she, 2008.
Find full textBook chapters on the topic "Documentary photos"
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Anderson, Joel. "From the photo session to documentary photography." In Theatre & Photography, 48–59. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_8.
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Lobefalo, L., L. Mastropasqua, A. Liberatoscioli, L. Colangelo, E. D’antonio, and P. E. Gallenga. "Photic maculopathy in a patient under treatment with clomipramine and bright light therapy." In Documenta Ophthalmologica Proceedings Series, 275–78. Dordrecht: Springer Netherlands, 1998. http://dx.doi.org/10.1007/978-94-011-5137-5_45.
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DonovanBlondell, Amy. "Trekking, Navigating, and Travelogueing in the Youth Trek Project: The Documentary Photography and Photo Essays of a Young Research Collaborator Traveling in the United States." In Identities and Subjectivities, 511–37. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-287-023-0_27.
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Donovan Blondell, Amy. "Trekking, Navigating, and Travelogueing in the Youth Trek Project: The Documentary Photography and Photo Essays of a Young Research Collaborator Traveling in the United States." In Identities and Subjectivities, 1–27. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-4585-91-0_27-1.
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"STOCK FOOTAGE AND PHOTOS." In The Shut Up and Shoot Documentary Guide, 332. Routledge, 2014. http://dx.doi.org/10.4324/9780240824444-185.
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Donoso Macaya, Ángeles. "Forensic Matter." In The Insubordination of Photography, 81–120. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401117.003.0003.
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The Lonquén case, as it is known, was the first case that definitively confirmed the denied existence of the detained-disappeared. Besides establishing that fifteen men who had been detained on October 7, 1973, had been thrown into the furnace of an abandoned mine, buried, and left there in clandestine cemeteries, the forensic analysis and the inspecting judge’s investigation also revealed that the depositions given by the policemen involved in the crime were completely false. Despite the prominence of the Lonquén case, little attention has been placed on the documentary photographs that served to secure and present the physical remains found as forensic evidence. I consider two sets of photographs taken by Vicaría de la Solidaridad photographers Helen Hughes and Luis Navarro at the abandoned mine during the first days of December 1978, immediately after the findings. My analysis centers on the photos that were disseminated publicly and also considers how the unpublished photos (the vast majority) were discussed in the media. The chapter ends with a brief consideration of No Olvidar (Not To Forget) (1982) by Ignacio Agüero, and La ciudad de los fotógrafos by Sebastián Moreno, two documentary films in which the traces of Lonquén continue emerging.
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Orvell, Miles. "Destroying Modernity: The World Trade Center." In Empire of Ruins, 127–45. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0005.
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This chapter centers on the World Trade Center disaster and how its significance was interpreted through photographic imagery and the mass media. The spectacle of destruction has never been more vividly recorded than in the imagery of 9/11. The chapter discusses the work of two influential documentary photographers—James Nachtwey and Joel Meyerowitz—and what they were trying to achieve. But 9/11 photographs were also collected in two major archives that are discussed in the chapter—Here Is New York and the Library of Congress’s September 11 project—with their contrasting goals. The question of the “iconic” image is discussed in terms of the Falling Man photos, and the chapter concludes with a consideration of the extreme aestheticizing of the event in the remarks of composer Karlheinz Stockhausen, which caused an uproar in Europe and the US.
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"ASSIGNMENT 34 Extended Documentary." In Digital Photo Assignments, 142–45. Routledge, 2015. http://dx.doi.org/10.4324/9781315759210-43.
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"Photo gallery." In The Social Documentary Photography of Milton Rogovin. The University Press of Kentucky, 2019. http://dx.doi.org/10.2307/j.ctvh1dxjk.7.
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Aguayo, Angela J. "Laboring under Documentary." In Documentary Resistance, 103–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0004.
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The impulse to record and document labor struggle is almost as old as the concept of documentary itself. From the Worker’s Film and Photo League to the activist programming of Labor Beat, documentary has had an intimate relationship with the labor struggle. This chapter addresses the history of labor documentary production in the United States as an expression of radical ideology. Challenging the aesthetic form and content of the mainstream media, the labor movement is a loosely connected network of activists and artists across the country, engaged in efforts to produce media outside mainstream institutions. Specifically, this chapter focuses on elements of labor history that made significant contributions but are now largely ignored and undocumented: the efforts of radical women, rank-and-file amateur videographers, and undocumented workers. Existing on the fringes of the mainstream and counterculture, the work of women in alternative media in the early 1970s reflected a direct relationship between their lived experience, the camera, and political engagement, embodying a liberated agency that is magnified by the documentary camera. The chapter creates a portrait of the documentary commons as it expands and works for citizens in their daily lives. They represent a whole population of radical activists carving out a space for themselves to engage labor and social change with their cameras.
Conference papers on the topic "Documentary photos"
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Aszo´di, Attila, Bogda´n Yamaji, Judit Silye, and Tama´s Pa´zma´ndi. "Expedition to the 30-km Chernobyl Exclusion Zone and the Utilization of Its Experience in Education and Communication." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89510.
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Between May 28 – June 4, 2005, under the organization of the Hungarian Nuclear Society (HNS) and the Hungarian Young Generation Network (HYGN) — which operates within the framework of the HNS — a scientific expedition visited the Chernobyl Nuclear Power Plant and the surrounding exclusion zone. The participants were young Hungarian nuclear professionals supervised by more experienced experts. The main scientific goals of the expedition were the followings: • Get personal experiences in a direct way about the current status of the Chernobyl Power Plant and its surroundings, the contamination of the environment and about the doses. • Gather information about the state of the shut down power plant and the shelter built above the damaged 4th unit. • Training of young nuclear experts by performing on site measurements. The Hungarian expedition successfully achieved its objectives by performing wide-range of environmental and dosimetric measurements and collecting numerous biological and soil samples. Within the 30-km exclusion zone the influence of the accident occurred 20 years ago still could be measured clearly; however the level of the radioactivity is manageable in most places. The dosimetrical measurements showed that no considerable exposure occurred among the members of the expedition. The analysis of samples has been started at the International Chernobyl Center in Slavutich. During the expedition not only environmental sampling and in-situ measurements were carried out but it was also well documented with photos and video recordings for educational, training and PR purposes. A documentary TV film was recorded during the expedition. The first-hand knowledge acquired during the expedition helps the authentic communication of the accident and its present-day consequences, which is especially important in 2006, 20 years after the Chernobyl accident. Since Ukraine and Hungary are neighbor countries the media constantly discuss the accident, the consequences and the risks of using nuclear energy. In addition in November 2005 Hungary’s parliament approved plans to extend the lifetime of the country’s four-unit nuclear power plant. In order to have the crucial public support for nuclear energy it is very important to dispel unrealistic dismay and misbelieves regarding these questions. Thus it is extremely beneficial to have a film on this topic created by nuclear professionals especially for the public audience. In 2005 a book on the Chernobyl accident was published in Hungary that covers this expedition in a full chapter [2]. We plan to present the film to the audience of the conference.