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Journal articles on the topic 'Documentary photos'
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1
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.
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Iordache Cârstea, Luiza. "The Humanitarian Aid of the Joint Relief Commission of the International Red Cross in France to the civil population: children, women and internees (1940-1946)." Culture & History Digital Journal 8, no. 2 (December 30, 2019): 022. http://dx.doi.org/10.3989/chdj.2019.022.
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The objective of this article is the analysis of the humanitarian relief work of the International Committee of the Red Cross (ICRC) and the League of the Red Cross Societies through a joint body, the Joint Relief Committee (JRC), in France during the Second World War. Based on the treaties, convention and draft projects that shed light on the evolution and consolidation of the International Humanitarian Law relating to civilian defence and on the specialized bibliography, reports of the ICRC and the JRC, documentary sources of the ICRC Archives, and photo library of the same organization, the article focuses on humanitarian aid and priorities of the JRC in favour of the civilian population most vulnerable to and affected by war: children, women and internees in the concentration camps in South of France. This study, accompanied by photos, maps and quantitative data, sheds light on the channels of humanitarian action, the charitable organizations, associations, institutions, foundations, etc., that made this possible, as well as the loopholes and limitations of international humanitarian law, with important consequences for human life during a major conflict such as the Second World War.
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Valverde, Mariana, and Aaron Moore. "The performance of transparency in public–private infrastructure project governance: The politics of documentary practices." Urban Studies 56, no. 4 (March 1, 2018): 689–704. http://dx.doi.org/10.1177/0042098017741404.
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That public–private infrastructure partnerships (P3s) present problems in relation to democratic accountability has often been noted, with calls for greater transparency often following. Such calls tend to assume that anything that promotes transparency will further accountability and openness. Drawing on socio-legal studies of the documentary and other information practices that underpin and operationalise governance, this article carefully examines the features and the possible uses of the documentation that is made public by the PPP sector, in Canada. We find that information practices that perform and produce transparency (such as posting project documents online) may produce a merely illusory accountability. Particular attention is paid to the scale at which infrastructure planning information is made public, the selection of content included in the documents (e.g. photos of buildings versus background information), and the information formats commonly utilised. Overall, we find that the information that is made public does not actually empower the concerned public: projects are presented out of context, devoid of historical or comparative context and without reference to any broader regional or other plan, and when ‘real’ documents are made public, neither the content nor their framing enables effective openness, thus hindering accountability.
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Miranda, Rui Gonçalves. "Looking back for ways ahead." Diacrítica 34, no. 2 (July 30, 2020): 29–47. http://dx.doi.org/10.21814/diacritica.567.
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Repare bem (Maria de Medeiros, 2013) and Luz obscura (Susana de Sousa Dias) are illustrative examples of women documentary filmmaker's approach to post-dictatorship memory in Brazil and in Portugal. Their attempt to counterpose affective and personal memories with the official records of the state, through the use of mugshots and prison photos of members of a family nucleus taken by the oppressive apparatus of the respective regimes framed in a ‘family narrative’, is inextricable from a recovery of the memory of women’s efforts as both witnesses as and social and political agents. This article will build upon works combining a feminist approach with memory studies (Marianne Hirsch, Annette Kuhn) which provide an insight into the particularities of family photographs as a means to explore the intersection between the personal and the official, the intimate and the public, family and nation, memory and history. Both documentaries raise the stakes by questioning as well as collapsing the said binaries when they structure and order the historical source material within a ‘family frame’: mugshots and prison photos are inscribed in lieu of a speculative family album, thus performatively upsetting the ideological framework of authoritarian regimes as well as their historical legacies, currently the object of contestation and political manipulation.
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Pfingst, Annie, and Marsha Rosengarten. "Medicine as a Tactic of War." Body & Society 18, no. 3-4 (August 30, 2012): 99–125. http://dx.doi.org/10.1177/1357034x12446381.
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This photo-essay highlights the ways in which medicine features in the Occupied Palestinian Territories (OPT) and uses it to reflect on the nature of ethical obligation set out by Judith Butler in her work on state-achieved precarity. Although medical infrastructure of even the most basic type is tragically lacking and in some areas shockingly absent in the OPT, it is the particular way in which medicine comes to be needed that we focus on. Leaving aside the rhetoric that has claimed authority over what can or cannot be said of the Occupation, we focus on its geo-technological arrangements. By placing photos and case studies of medical obstruction within an analysis of the Occupation, we forge an encounter between reader and the Occupation to raise questions about the use of medicine in this context and the manner in which conventional ethics can give legitimacy to this use. On the basis of what we show through visual and textual documentary material, we propose ethics be understood as inherent to the geo-technological arrangements that make life possible or, as in this case, undermine, obstruct or deliberately take life. Hence the ethical obligation that Butler calls upon is reiterated in ways that encompass the everyday features of occupation including those active in the emergence of medicine as a tactic of war.
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Daniels, Dieter. "THE SECOND HALF OF THE READYMADE CENTURY (1964–)." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 141–57. http://dx.doi.org/10.7146/nja.v28i57-58.114853.
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The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the beginning of the second half of the “Readymade Century.” In contrast to their widespread visibility, the paradoxical ‘construct- edness’ of these objects is rarely discussed. The representational impact and the conceptual specificity of these multiples goes far beyond the oeuvre of Marcel Duchamp, and can be seen as a pre- monition of artistical appropriation strategies from the 1980s to the present day.
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Haleta, Olena. "Instead of a Novel." Aspasia 14, no. 1 (March 1, 2020): 78–103. http://dx.doi.org/10.3167/asp.2020.140107.
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This article focuses on the life and literary strategies of Sophia Yablonska (1907–1971), a self-identified Ukrainian camerawoman, photographer, and writer. While working for a French documentary production company, traveling around the world, and living in Morocco and China, Yablonska published three books of travelogues supported by hundreds of photos (The Charm of Morocco, 1932; From the Country of Rice and Opium, 1936; and Distant Horizons, 1939) that combine autobiographical and anthropological approaches and transgress poetic and narrative conventions. In her travelogues, Yablonska examines the contradictions between traditional and modern culture and expresses them in verbal and visual forms. Abandoning the genre of the novel for that of the travelogue, Sophia Yablonska transgressed literary and life norms in terms of genre, gender, anthropology, autobiography, perception, media, culture, and discourse. Her writings not only reveal other countries, but also show the formation of a modern personality in the process of writing.
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Azis, Abd, and Mufti Syaifuddin. "Pengenalan Potensi Budaya Lokal (Rokat Tase’) Melalui Pendekatan PM3." ESTETIKA: JURNAL PENDIDIKAN BAHASA DAN SASTRA INDONESIA 1, no. 2 (October 6, 2020): 59–69. http://dx.doi.org/10.36379/estetika.v1i2.86.
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Abstrak
Local potential object (Rokat tase') Is one of the great natural treasures That we can be proud of and grateful for. Every place in sumenep has well-traveled Tours in terms of the beauty of the place, the coolness of both its customs and its customs.While the local government has declared an economic locomotive for the region to be of no significant value,Due to many obstacles. Sumenep has many local Tours both religious and daily, but there are still a lot of tourists who still don't know,It is therefore necessary to inform the public about the potential for local tourism in sumenep.One approach is the introduction of potential local tourism through PM3 approaches.In this study focuses how students and youth easily get to know, know and visit to know the local culture.The method is established by media graphics (pictures or photos). Resources in this study are local images and programs of culture (rokat tase') that are in Aeng Panas.The documentary study data collection, and the main image collectors in the study are cell phones and digital cameras,Research shows that exposure to the local cultural AENG PANAS potential of through PM3 learners is easy to enjoy and understood by the students and youth of the AENG PANAS Village and outside even the district level.
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Kupidura, Ryszard. "MIĘDZY GONZO A DOKUMENTEM HISTORYCZNYM. O STATUSIE GENOLOGICZNYM REPORTAŻU ЗВІТ ЗА СЕРПЕНЬ’14 ANDRIJA SOWY (PŁOCHISZA)." Studia Ukrainica Posnaniensia 8, no. 2 (December 31, 2020): 177–86. http://dx.doi.org/10.14746/sup.2020.8.2.14.
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The urgency of this paper is conditioned by the importance for the Ukrainian literary process of examining the peculiarities of literary works devoted to the Russian-Ukrainian war (2014–?). In the article, the author reviews the genre status of Andriy Sova’s Zvit za serpen ‘14. The research indicates the syncretic character of Sova’s reportage and reconstructs the social and cultural conditions for the creation of the text. In addition, the author draws attention to the language of reportage (idiostyle), which is saturated not only with emotions, but also with technical and military terminology. It was found that Zvit za serpen ‘14 contains a specific chronotope conditioned by the dynamics of events in 2014. Another important aim of the research was to investigate how Sova strengthens the reference pact with the reader. As a result, it was recognized that Sova’s strategy is to declare the truth (“I am describing only what I have seen”), frequent quoting of other soldiers, as well as posting photos, which strengthens the documentary character of the book.
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Makki, Alaa, and Marcel Issa Al Juinat. "TRENDS IN PRESS COVERAGE OF FEMINIST ACTIVITY IN THE UAE MEDIA: AN ANALYTICAL STUDY." International Journal of Research -GRANTHAALAYAH 9, no. 3 (March 20, 2021): 26–46. http://dx.doi.org/10.29121/granthaalayah.v9.i3.2021.3712.
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This study seeks to shed light on Arab societies in general and the Emirati society in particular, as we find that customs and traditions have given the conservative form of women,
Which, in turn, is reflected in the entirety of its relations, and its social and cultural processes in particular are closely related to the media institution that reproduced this model by adopting conservative contents, except in very few cases, which is often associated with some feminist institutions.
In this study, the researchers focused on identifying the most important shapes, templates, trends, and areas occupied by all of these coverage. And then determine its contents and meanings. that is through analyzing the coverage and its types and all the arts of journalistic editing, News coverage is made up of the type of news and report, while the explanatory coverage is by the type of press article Investigation and press dialogue, as for the documentary coverage, it is related to the means of highlighting, whether they are news or non-news photos, figures and drawings.
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Sinelnikova, Elena F., and Vladimir S. Sobolev. "The Petrograd Philosophical Society and the “Academia” Publishing House: Materials from A.A. Krolenko’s Archival Fond in the Manuscript Department of the National Library of Russia." Herald of an archivist, no. 1 (2020): 293–305. http://dx.doi.org/10.28995/2073-0101-2020-1-293-305.
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Drawing on documentary sources from the personal provenance archival fond of the famous publisher and bibliologist A.A. Krolenko (Manuscripts Department of the National Library of Russia) the article clarifies the role of the Petrograd Philosophical Society in the creation and initial activities of the famous publishing house “Academia.” It thus enables to redefine some processes of the Russian scientific and cultural life in the first years of Soviet power. The article draws on the documentary complex of the personal fond of A.A. Kolenko in order to show some important forms, methods, and trends of the publishing activities of the Petrograd Philosophical Society in the early 1920s. Interesting information on the topic is being introduced into the scientific circulation for the first time: concerning the creation of the publishing house, organizing of the bookstore, preparing translations of Plato's works, founding the “Mysl” magazine, etc. The chronological scope of the article is limited to the period of 1921–1923, since it was during these years that the publishing house “Academia” operated within the frameworks of the Petrograd Philosophical Society and under its auspices. The article draws on diverse in their composition and content documents from the A.A. Kolenko’s fond: records management documents, reports, diary entries, photos, memories, letters, etc. Taken together, these archival sources testify to the most serious work done by the Petrograd Philosophical Society to organize the publishing house and ensure its work under the difficult conditions of the initial period of the New Economic Policy. The identified archival documents form a single complex on the history of the remarkable publishing house “Academia,” at the origins of which stood the Petrograd Philosophical Society.
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Rodríguez Aguilar, Susana. "Constantes y variantes en la generación y publicación de la fotografía periodística. Instrumento de investigación." HiSTOReLo. Revista de Historia Regional y Local 4, no. 8 (July 1, 2012): 401–18. http://dx.doi.org/10.15446/historelo.v4n8.30352.
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Al aplicar la propuesta de instrumento de investigación —compuesta por 20 categorías— en los medios de comunicación impresos pueden identificarse temporal y espacialmente las fotos periodísticas de los principales acontecimientos nacionales e internacionales realizadas por los fotorreporteros; imágenes informativas con contenido histórico que reflejan la técnica y representación cultural del trabajador de la lente, así como los criterios editoriales e ideología de la prensa escrita de la época.Con esta propuesta pueden identificarse índices tales como: la puesta en página, el crédito o no a la misma, el tamaño, la sección, el género periodístico, el sitio geográfico (colonia, ciudad y país) y el personaje o los personajes identificables, las características de la toma, así como el título o pie de foto asignado. Conjuntos documentales con valor indicativo, que por su carácter repetitivo y por sus rasgos comunes permiten homogenizar la información.Palabras claves: fotos, técnicas, fotorreporteros, prensa, representación cultural. Constants and Variants in the Generation and Publication of Photojournalism. Research toolAbstractBy implement the proposal of research tool —made up by 20 categories— in the media of printed communication, it is possible to identify several aspects like spatial and temporal journalistic photos of major national and international events made by the reporters, informative images with historical content that reflect the technical and cultural representation of the worker of the lens, as well as the editorial criteria and ideology of the written press of the time. several aspects can be identified with this proposal such as the credibility or not to the page, size, section, the journalistic genre, geographical site (district, city and country) and the character or identifiable characters, the characteristics of the shot, as well as the title or caption assigned. Documentary sets with indicative value, which by its repetitive character and its common traits allow homogenize information.Keywords: photos, techniques, reporters, newspapers, cultural representation.
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Giergiel, Sabina. "Additional testimony. Photographs in the Prose of Daša Drndić." Fluminensia 32, no. 1 (2020): 39–52. http://dx.doi.org/10.31820/f.32.1.9.
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In this paper I will reflect on the role of photographs in the works of Daša Drndić. Mixing fictional and documentary modes is a characteristic feature of her texts. It is achieved among others by utilizing visual representations of the past. In my paper I aim to outline the strategies of visualization applied by the authoress (especially the traumatic, Holocaust-related experience), which materialize through photographs included in her works of literature. In the case of Drndić the visuals include for instance contemporary or archival photographs of places marked by the Holocaust and of Jewish inhabitants of Vienna as well as portraits of war criminals. Generally speaking, in her texts the photographs function as concretization (concretization) of the memory of injustice, of trauma and ultimately of the Holocaust. The photographs are by no means neutral images though they are commonly perceived as such. Interaction between the text (itself skirting the boundary between fact and fiction) and the image puts the latter in a position that is far from neutral. In Drndić’s case, the photos are often used as an inventory (archival) practice, but they constitute predominantly a way of overcoming the crisis, related to the intention of giving an account of the past, particularly a testimony of the Holocaust.
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Liestoel, Gunnar. "Augmented Reality Storytelling – Narrative Design and Reconstruction of a Historical Event in situ." International Journal of Interactive Mobile Technologies (iJIM) 13, no. 12 (December 18, 2019): 196. http://dx.doi.org/10.3991/ijim.v13i12.11560.
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<p class="0abstract"><span lang="EN-GB">How may we best utilize mobile augmented reality for storytelling when reconstructing historical events onlocation? In this article we present a series of narrative design considerations when developing an augmented reality application recreating the assault on Omaha Beach in the early morning on D-Day. To what extent may we select existing genre conventions from, for example, documentary film, and adapt them to a location–based audio–visual medium like AR? How can we best combine sequence and access, the narrative flow of an unfolding historical event with the availability of background information, in order to enrich the experience of the story, but without distorting its coherence? To what extent may we draw from existing and well known media representations of the Omaha Beach landing? How was the battle documented with contemporary means? We present the rich documentation of photos, films, drawings, paintings, maps, action reports, official reports, etc., and discuss how these have been employed to create the published AR situated simulation. We also describe and discuss the testing and evaluation of the application on location with visitors, as well as online tracking of its current use.</span></p>
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Seifert, Jaroslav. "A Tribute to Vladimír Holan." Index on Censorship 14, no. 2 (April 1985): 4–7. http://dx.doi.org/10.1080/03064228508533855.
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The poem which follows, ‘A Tribute to Vladimir Holan’, appeared as a samizdat book in Prague in 1980. It is an obituary tribute — Vladimir Holan died in 1980—and it is also a look back at twentieth century Czech cultural history, as personified by eight of Seifert's deceased friends. Each of these friends were poets who made a contribution to the treasure chest of European literature, yet most are unknown outside Czechoslovakia. (Czech is spoken by only ten million people, and an author writing in a minority language experiences a sort of censorship from the outset; for poetry is difficult to translate.) To introduce the eight poets, we reprint an article by Milan Kundera, the Czech novelist now living in France, which first appeared in Le Nouvel Observateur. Three of the six pages of the samizdat book are reproduced below and on page 6. The photographer, and the maker, of the samizdat book, was Ivan Kyncl. Over 50 of Ivan Kyncl's photos have appeared in Index since 1978, when he was still in Prague and was pseudonymously credited as ‘Ivan Bárta’. His story is also symptomatic of present day Czechoslovakia. He was 15 when the Warsaw Pact tanks rolled into Prague in 1968. His parents refused to regard this invasion as ‘fraternal international assistance’ and so he was debarred from entering university and instead trained as a commercial photographer. He became the unofficial photographer of Charter 77. Many of his documentary photos and films found their way to the West, but during a house search his entire archive of negatives was confiscated. Following an international outcry, part of the archive was returned — each and every negative destroyed by a chemical. Ivan Kyncl left the country in 1980 and now works as a freelance photographer in London. In the same year Vladimir Holan died. The Czech authorities allowed public recital by an actor of Seifert's tribute on one condition: instead of the line ‘In the wretched aviary that is Bohemia’ he had to say ‘In the wretched aviary that is the world’.
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Hongslo, Eirin. "An ecology of difference: fence-line contrast photographs as scientific models in ecology." Journal of Political Ecology 22, no. 1 (December 1, 2015): 339. http://dx.doi.org/10.2458/v22i1.21112.
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Political ecologists have long acknowledged the links between knowledge and power. Recently there has also been a growing interest in detailed studies about knowledge production within critical political ecology. This article is a study of the use of photographs in scientific articles on dryland ecology, and investigates the functions of photographs. Contrary to the straightforward manner in which they are presented, photographs are not value-free documentary proofs of 'how things are.' Rather, photographs constitute arguments in their own right. Using photographic and textual theory, this study analyzes two articles that include photographs of fence-line contrasts between two different management regimes. Contrasting areas divided by a fence-line is a methodology that demonstrates how management differences lead to differences in vegetation. In a Southern African context, however, differences across a fence tend to encompass deep racial and economic divides, and the fence-line photos risk encompassing these differences. This article argues that the fence-line contrast photographs in this study function as models that order the causal links between vegetation dynamics, land tenure and land management. These models correspond closely to equilibrium models in range ecology, and the fence-line photographs thus contribute to a degradation narrative that has been influential for land reform policies in Southern Africa, and that feeds into land use policies that favor private land ownership in communal areas.Keywords: Critical political ecology, fence-line photography, scientific models, rangeland ecology, Southern Africa
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Jernejšek, Jasna, and Martin Parr. "Photography Is the Only Art Form That We All Do: Interview with Martin Parr." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 24–29. http://dx.doi.org/10.47659/m5.024.int.
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Martin Parr (1952) is considered to be one of the most iconic and influential photographers of his generation. Parr, whom obtained a photography degree at Manchester Polytechnic (1970–1973), joined the classics of British documentary photography with a series of black and white photographs of the disappearing folk customs of Northern England. In the 80s he managed to make his breakthrough to the global photography scene (and market). At that time, impressed by American colour photography, he took on photographing on colour film himself. He made The Last Resort (1983–1985), a series of British working class while spending holidays in a coastal resort in New Brighton, which remains one of his most recognizable work to this day. After its first presentation in the Serpentine Gallery in London in 1986, the project triggered turbulence and division of opinions of both professionals and general public. Polarization of opinions became a constant in Parr’s photography career. The polemics he caused by first becoming a member (1994) and then the president of Magnum Photos (2013–2017) are well known. The critics castigated Parr for being cruel and voyeuristic, and that he claimed to only be photographing what he sees, while he benefited from making a mockery of others. His unconventional use of the medium, smooth traversing through different contexts of photography and flirting with obvious commercial interests was deemed controversial and questionable by many (until today). Keywords: Martin Parr, photobook, photographic backdrop, portrait, studio photography
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Pevec, Iza, and Robbie Cooper. "Staring at the Screen: Interview with Photographer Robbie Cooper." Grimace, Vol. 2, no. 1 (2017): 14–19. http://dx.doi.org/10.47659/m2.014.int.
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From the beginnings of the photography, portrait photography has had a special aura – reading one’s own facial expressions and those of others is after all a very human trait. In his project Immersion, British artist Robbie Cooper presents a specific type of portraits – portraits of people as media consumers. We are all aware of the frightening statistics of the average number of hours spent behind the screen, yet Cooper’s intention was not to moralise. A diverse spectrum of people’s expressions captured during watching various media content tells only one part of our human story. In the Immersion, the screen becomes some kind of mirror, recording intense expressions of the portrayed persons, captured with an in-built camera. Because of the accompanying sound, we can guess what the people are watching – the content includes everything, from video games, pornography to snuff movies. Stills from the movies have less documentary value. With the help of the high quality of the photos, the frozen grimaces become peculiarly similar to the classical portraits from the history of art. Almost eccentric grimaces confuse us and at the same time remind us how realistic virtual reality feels. Cooper had already explored our relationship towards virtual reality in his project Alter Ego, in which he sets the gamers of virtual games next to their avatars. He was interested in the human element of virtual worlds by questioning what imaginary personas can tell us about their creators. Throughout our conversation, questions of human consciousness arose. Keywords: expressive face, grimace, human character and facial expression, media content, Robbie Cooper, role-playing
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Aiello, Damiano, and Cecilia Bolognesi. "Reliving history: the digital reconstruction of the convent of Santa Maria delle Grazie in Milan." Virtual Archaeology Review 11, no. 23 (July 8, 2020): 106. http://dx.doi.org/10.4995/var.2020.13706.
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<p class="VARAbstract">Can we preserve cultural heritage and, consequently, the memory of the past? To answer this question, one should look at the digital revolution that the world has gone through in recent decades and analyse the complex and the dialectical relationship between cultural heritage and new technologies. Thanks to these, increasingly accurate reconstructions of archaeological sites and historical monuments are possible. The resulting digital replicas are fundamental to experience and understand cultural heritage in innovative ways: they have complex and dynamic relationships with the original objects. This research paper highlights the importance and the scientific validity of digital replicas aimed at understanding, enhancing and protecting cultural heritage. The study focuses on the virtual reconstruction of the constructive phases, from the mid-15<sup>th</sup> century to date, of one of the most emblematic Gothic-Renaissance buildings in the city of Milan (Italy): the convent of Santa Maria delle Grazie, famous worldwide for hosting Leonardo da Vinci's Last Supper painting. This site proved to be an ideal case study because of its troubled and little-known history that led to numerous changes over the centuries. Thanks to a methodological approach based on the analysis of the documentary sources and three-dimensional (3D) modelling, it was possible to outline the chronological succession of the convent transformations; the way in which these overlapped the pre-existing structures was described starting from the Renaissance harmonious and organic interventions, to finally reach 18<sup>th</sup>-19<sup>th </sup>centuries inhomogeneous and incompatible additions. Finally, the research was completed by mapping the 3D models based on the sources used and their different levels of accuracy. The 3D models have thus become a valid tool for checking and verifying the reconstruction hypotheses.</p><p class="VARAbstract">Highlights:</p><ul><li><p>The study focused on the virtual reconstruction of the convent of Santa Maria delle Grazie, one of the most emblematicGothic-Renaissance buildings in the city of Milan.</p></li><li><p>By combining data from documentary sources, architectural treatises, period photos and digital survey, the mainbuilding phases of the convent, from the 15th century to date, were digitally reconstructed.</p></li><li><p>The 3D models are enriched with information about the accuracy of the digital reconstruction, creating 3D databasesthat can be easily consulted and updated.</p></li></ul>
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Cheng, Philippe. "Photo documentary of Angola Prison." Souls 2, no. 1 (January 2000): 34–37. http://dx.doi.org/10.1080/10999940009362197.
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Dobriian, Daria. "New about the little-known and missing works of Oleksandr Murashko: the attribution of portraits of the German consul Erich Hering’s wife, artist A. Babenko, Tetiana Yashvil, Lidia Murashko, paintings "Evening"." Text and Image: Essential Problems in Art History, no. 1 (2020): 69–81. http://dx.doi.org/10.17721/2519-4801.2020.1.05.
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The author attempts to attribute the lesser-known artistic works by Oleksandr Murashko (1875–1919). Some of them were considered lost, e.g. the images of Tetiana Jashvil or Lidia Murashko. Others, including a portrait of the German consul Erich Hering’s wife, as well as a portrait of the artist A. Babenko (Murashko’s pupil) and the painting "Evening", can still appear in the field of view of researchers. The author describes primary sources that allowed her to carry out the attribution, and details that suggested the correct way for the scientific search. A number of iconic paintings by Oleksandr Murashko are known only from some black-and-white or colour reproductions. First and foremost, we are talking about such works of the artist as "Merry-go-round", "Sunday" (1909), "On terrace", "Over the old pond", which trails were lost in the early 20th century. The author already touched upon the question of these paintings’ fate (except for "Merry-go-round"). Nevertheless for a deeper understanding of the artist's work, it is necessary to explore the lesser-known, even lost pieces. The primary source for studying the heritage of the artist are listings of his works, that were compiled around 1919 by Marharyta Murashko. Despite the fact that they contain many inaccuracies and errors, the value of these listings cannot be overemphasized. Inter alia, there are works, which locations are unknown by far. But the idea of some of them can be formed from photos from the documentary and archival trust of the National Art Museum of Ukraine. Some researchers have managed to establish the names of many persons portrayed by Murashko, but there is a need to make further researches in this field. The attribution of each painting proves that even a limited amount of sources can give us an idea of the appearance of lost works, regardless the fact that not all of them were reproduced on the pages of printed publications or as photographs. At the same time, the assessment of various sources allows us to attribute the little-known portraits, because the names of many depicted persons remain unknown. But with each passing year it becomes more complex to set them.
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Snyder Haight, Jonathan David. "Percepciones de la crisis en 'El último verano', del colectivo NOPHOTO / Sensing the crisis in Nophoto’s 'El último verano'." Kamchatka. Revista de análisis cultural., no. 9 (August 31, 2017): 443. http://dx.doi.org/10.7203/kam.9.10012.
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Resumen: El proyecto fotográfico El último verano (2012) del colectivo NOPHOTO, ofrece un conjunto de percepciones fragmentadas, y a veces contradic-torias, sobre una cotidianidad estructurada por la crisis económica. Partiendo de la noción del impasse neoliberal de Lauren Berlant, este análisis aborda las formas en que la crisis resulta perceptible en las fotos, primero en el apego afectivo del sujeto hacia sus pérdidas anticipadas, y después en las tácticas de supervivencia desarrolladas en tiempos de crisis. El hecho de hacer un balance del presente en el impasse, parece estar inmerso en estas fotografías con un fuerte sentido de temporalidad en el que el cambio y la pérdida desestabilizan el presente, evocando senti-mientos de retorno, nostalgia, proyección futura, fantasía escapista, ansiedades sobre las perspectivas de riesgo, etc. Y en las fotografías, el carácter compuesto del proyecto señala a los espectadores otras formas de mirar en tiempos de crisis, desde perspectivas plurales, que en su conjunto ensamblan una circunstancia colectiva y compartida de la vida cotidiana en tiempos de austeridadPalabras clave: fotografía documental, crisis financiera, neoliberalismo, temporalidad, afecto, subjetividad.Abstract: NOPHOTO’s collective photography project El último verano provides a fragmented, contradictory document to the deteriorating conditions of everyday life in times of crisis. In it, nine photographers turn their lenses toward portraits of downward mobility, precarity, and the growing phenomenon of emigration, as well as summer pleasures and moments of escape. Drawing from Lauren Berlant’s writings on the impasse in neoliberalism, I read how la crisis is sensed first in these photos in the subject’s affective attachments to perceptible losses and then in strategies for survival developed amid an ongoing crisis. Taking stock of the present at an impasse, I argue, is immersed in a strong sense of temporality for the present ungrounded by change—of nostalgia and return, of future projection, of escapist fantasy, of present anxieties for risk—and in the photographs, indexes for viewers other narratives on the crisis, in plural ways, that piece together a collective, shared circumstance in times of austerity. Key Words: documentary photography, financial, crisis, neoliberalism, temporality, affect, subjectivity.
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Park, So Young, and Sun Young Park. "Photo Essay Writing utilizing Documentary Animation FERUZA." Korean Association For Learner-Centered Curriculum And Instruction 19, no. 11 (June 15, 2019): 665–94. http://dx.doi.org/10.22251/jlcci.2019.19.11.665.
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Fonseca Alves, Ricardo Henrique, Getúlio Antero de Deus Júnior, Jonas Augusto Kunzler, and Antonio Marcelino da Silva Filho. "Clown Group - Engineers without Borders (Knowledge Connections): Building a Humanistic Training in Engineering Courses." International Journal on Alive Engineering Education 5, no. 2 (March 15, 2019): 61–80. http://dx.doi.org/10.5216/ijaeedu.v5i2.54678.
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The Clown Group – Engineers without Borders (Knowledge Connections) is a group of clowns formed by Engineers and Engineering students. The theoretical basis of the Clown Group goes back to the origins of Jerzy Grotowski's “poor theater” (1933–1999). Concerning the use of music, theater and dance to present and promote the pleasure of art, the Group values the interaction with the public and does not worry about the structural elements commonly characterized by the theater as stage and lighting. In this way, the Clown Group promotes a Humanistic Formation of its members by providing a development in the capacity of communication, contact with the external community and also the satisfaction, by allowing the art to be spread in a simple and effective way. The objective of this work is to analyze the importance of Humanistic Training in the professional and personal development of Engineers and Engineering students, treating as a special case the Humanistic Training linked to the actions of the Clown Group – Engineers without Borders (Knowledge Connections). As a hypothesis, it is expected that the experience of members and ex–members of the Clown Group can be proven through their training and presentations over the years. In order to evaluate the personal and professional development of members and ex–members of the Clown Group during the training process, a qualitative research was carried out, via an applied questionnaire, in addition to a documentary research by observation, in which data were collected through analysis and observation of photos and documents of the Clown Group. In addition, Artificial Neural Networks were used to correlate the members and ex–members based on the two applied researches. The members and ex–members of the Clown Group have experienced a major break in introspection, significantly improving their way of communicating with society. The members and ex–members presented an improvement in the way they relate to each other in a team, a fundamental aspect of an Engineer's professional life. The Clown Group presents itself as a very important action for Humanistic Training and the professional and personal development of Engineers and Engineering students. The diffusion of art in the academic and external community promoted by the Clown Group also allows the deconstruction of the stereotype that the areas of Engineering and the Arts cannot coexist.
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Frolova, Ekaterina, and Irina Rutsinskaya. "Russian Orthodoxy in documentary projects of the Russian and English photographers." Культура и искусство, no. 7 (July 2021): 27–54. http://dx.doi.org/10.7256/2454-0625.2021.7.34125.
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This article is dedicated to the analysis of distinctive features of the image of Russian Orthodoxy in the works of the contemporary Russian and English photographers. The authors review various aspects of photography as a research tool. They determine the focus of attention of the English and Russian photographers with regards to Orthodoxy, which aspect of religiosity prevail in their works, and which artistic means of photography are used by the photojournalists to express their position. In the course of research of the existing photo projects, the question is raised of whether they seek to capture negative or rather positive aspects of the Russian religiosity. Analysis is also conducted on the degree of the influence of stereotypes upon photo images. Research methodology employs comparative analysis of the documentary photo projects of the Russian and English photographers. The photographers were selected by regional, professional, and objective-subjective criteria. This article is first to refer to the documentary photo projects for analyzing the perception of Russian Orthodoxy by the Russians and foreigners, which defines the scientific novelty and uniqueness of this research. The conducted analysis reveals the similarities and differences in the approaches of the Russian and English photographers. The conclusion is made that the object of research of the English and Russian photographers differ in themes and aspects they pay attention to. The English photographers are interested in religion as a part of the everyday practices of a modern Russian, while the Russian photographers attempt to demonstrate a profound connection of people with the spiritual world. At the same time, both English and Russians photographers capture Orthodoxy in a positive context, at times even romanticizing the image of Orthodox temples and rituals.
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Sheng, Jeff T. "Ethnographic Uncovering: Hidden Communities." Contexts 19, no. 2 (May 2020): 46–53. http://dx.doi.org/10.1177/1536504220920196.
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Mersmann, Birgit. "Photo-translation." Target. International Journal of Translation Studies 32, no. 2 (July 7, 2020): 191–216. http://dx.doi.org/10.1075/target.20088.mer.
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Abstract This article introduces the concept of ‘photo-translation’ for studying documentary photography as a collaborative practice of visual translation. The visual-translational approach to photo documentation is applied in a novel way to the emerging field of contemporary migration photography, thus relating recent theoretical connections between translation and migration studies to explorations in visual studies. The study discusses how participatory and collaborative practices are increasingly used in contemporary photo documentation to challenge, if not remove, the relational ‘othering’ effect inherent in the photo-documentary representation of refugees, migrants and displaced peoples. The potential of translaboration as a mode of translational collaboration is explored through an in-depth analysis of two photo projects: (1) the participatory photo project Fotohistorias (Gomez and Vannini 2015), conducted by social and information scientists Ricardo Gomez and Sara Vannini in cooperation with migrants at the US–Mexico border; and (2) the collaborative photo–graphic novel project Lampedusa: Image Stories from the Edge of Europe (Migrant Image Research Group 2017), carried out by the Migrant Image Research Group under the guidance of Armin Linke. Demanding agency in visual translation proves to be essential for these participatory photo projects, since they aim to challenge dominant visual representations of how migration is narrated and represented in the media and academic discourse. For this reason, the investigation draws on new sociological approaches in Translation Studies in order to frame photo-translation as a social practice and as a form of (activist) engagement involving various agents and institutions.
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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.
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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.
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Goldson, Annie. "Journalism Plus? The resurgence of creative documentary." Pacific Journalism Review 21, no. 2 (October 31, 2015): 86. http://dx.doi.org/10.24135/pjr.v21i2.120.
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Over the past two decades, opportunities for ‘creative documentary’ on television may have diminished, but other distribution options for innovative and engaged films have opened up. A resurgence of cinematic documentary is attracting substantial numbers of viewers who, bored or disillusioned by television’s shift to reality programming, are prepared to pay for theatre tickets, while online subscription services such as Netflix and Amazon now stream and fund high-quality documentary. Increasing numbers of filmmakers are self-distributing their works online. A significant percentage of these films, freed from the constraints of broadcast television, take up political challenges because, as Michael Chanan says, documentary has ‘politics in its genes’ (2008, p. 16). In fact, as mainstream news and current affairs becomes increasingly tabloid, it could be argued that documentary is assuming the role of investigative journalism or, to use Laura Poitras’ description, documentary functions as ‘Journalism Plus’. This article, at times drawing on my own film practice, attempts to explore these shifts and developments, locating documentary at a time of institutional transformation.Image: He Toki Huna: SAS Quick Reaction Force in Kabul post a suicide bombing in February 2010. Photo by Lionel de Coninck
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Fawundu, Delphine, and Kristen Clarke. "Photo documentary: Visual representations of a post‐apartheid South Africa." Souls 2, no. 2 (March 2000): 72–75. http://dx.doi.org/10.1080/10999940009362214.
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Patricia, Naomi, and Budi Adelar Sukada. "RUANG FOTOGRAFI DI KEDOYA SELATAN." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, no. 1 (June 16, 2020): 297. http://dx.doi.org/10.24912/stupa.v2i1.6777.
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Third place is a place other than home (first place) or office/school (second place), where visitors can spend time and feel welcomed. Third place is no longer just a relaxing recreation place; third place has become part of our overall lifestyle. In that case, we need to realize that for some people, especially those in the creative class, third place is actually an non-negotiable asset. The development of photography in Indonesia is currently experiencing rapid development, both in terms of economic and community growth. This development began in the early 2000s, with the start of film cameras with digital sensors. This certainly makes it easier for camera users to not bother to print photos just to see the work that has been captured.Photography is one of the mass media that has become popular among teenagers. The existence of technological changes that make it easier for humans to demonstrate their artistic skills by using photography, so that photography can affect the lives of people throughout the world. Photography itself has always been inseparable from human life, other than as a documentary, photography itself is art, the art of creativity using light. So no wonder many rapid developments. This third place project aims to facilitate people who have an interest in photography, provide facilities in the form of a gathering place that can function as a channel for visitors' interest and creativity, and increase the Creative Economy’s sector. AbstrakThird place (tempat ketiga) adalah tempat selain rumah (first place/tempat pertama) atau kantor maupun sekolah (second place/tempat kedua), di mana pengunjung dapat menghabiskan waktu dan merasa disambut. Third place tidak lagi hanya berupa tempat rekreasi santai; third place telah menjadi bagian dari gaya hidup kita secara keseluruhan. Dalam hal itu kita perlu menyadari bahwa bagi sebagian orang, terutama yang berada di kelas kreatif, third place sebenarnya menjadi aset yang tidak bisa dinegosiasikan. Perkembangan fotografi di Indonesia saat ini mengalami perkembangan yang pesat, baik dari segi ekonomis dan pertumbuhan komunitasnya. Perkembangan tersebut dimulai sejak era awal tahun 2000-an, dengan mulainya kamera berfilmkan menggunakan sensor digital. Hal ini tentu memudahkan pengguna kamera untuk tidak bersusah payah mencetak foto hanya untuk sekedar melihat karya yang telah diabadikan. Fotografi merupakan salah satu media massa yang menjadi populer di kalangan remaja. Adanya perubahan teknologi yang memudahkan manusia untuk menunjukkan keterampilan seninya dengan menggunakan fotografi, sehingga fotografi dapat mempengaruhi kehidupan masyarakat di seluruh dunia. Fotografi itu sendiri memang sejak dulu tidak dapat dipisahkan dari kehidupan manusia, selain sebagai dokumenter, fotografi itu sendiri adalah seni, seni kreatifitas menggunakan cahaya. Maka tak heran banyak perkembangan yang pesat. Proyek third place ini memiliki tujuan untuk memfasilitasi masyarakat yang memiliki minat terhadap fotografi, menyediakan fasilitas berupa tempat untuk berkumpul yang dapat berfungsi sebagai penyalur minat-bakat dan kreatifitas pengunjung, serta meningkatkan sektor Ekonomi Kreatif (Ekraf).
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Gratton, Johnnie. "Du documentaire au documontage : Vingt ans après de Sophie Calle." Artiste invitée, no. 7 (August 10, 2011): 167–79. http://dx.doi.org/10.7202/1005523ar.
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En 2001, Sophie Calle se fait suivre pendant une journée par un détective privé. Son objectif : acquérir le rapport et les photos du détective afin d’y ajouter son propre rapport et de compiler ainsi une attestation documentaire hétérogène, à la fois intermédiale et interauctoriale, du projet. C’est à partir de ce dispositif hétérogène que l’on aborde la version du projet publiée au sein de ce numéro spécial. Et c’est en reconnaissance de ce dispositif hétérogène que l’on proposera de caractériser celle-ci comme « documontage », assemblage d’éléments disparates qui ne cesse de contester, au sein d’un exercice documentaire, les protocoles et le régime de vérité propres à l’éthique documentaire.
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Wei, S. Louisa. "Finding Voices Through Her Images." Feminist Media Histories 2, no. 2 (2016): 32–46. http://dx.doi.org/10.1525/fmh.2016.2.2.32.
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This piece reflects on the process of researching and producing S. Louisa Wei's documentary Golden Gate Girls (2014) and the significance of Esther Eng in contemporary feminist conceptualizations of women's filmmaking in the 1930s and 1940s. The goal of the documentary and the research is to place Eng back into Chinese and U.S. film histories, from which she has effectively been forgotten. The photo essay uses text and images to describe and reflect on that process, on the challenge of researching Eng through the images that remain, and on the ways in which feminist film history might take account of her.
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GRANDY, CLAIRE. "The Documentary Photo-Poetics of C. D. Wright and Deborah Luster." Contemporary Literature 60, no. 2 (2020): 253–81. http://dx.doi.org/10.3368/cl.60.2.253.
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СКЛЯРЕНКО, Галина. "Works of Victor Marushchenko: a documentary photo in the artistic space." Contemporary Art, no. 15 (December 5, 2019): 171–84. http://dx.doi.org/10.31500/2309-8813.15.2019.185938.
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Goodman, Aaron. "Outcasts: Exploring Documentary Photography and Photo-Elicitation with Longterm Heroin Users." Afterimage 44, no. 3 (November 1, 2016): 8–11. http://dx.doi.org/10.1525/aft.2016.44.3.8.
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Sepasgozar, Samad M. E., Steven Davis, Martin Loosemore, and Leonhard Bernold. "An investigation of modern building equipment technology adoption in the Australian construction industry." Engineering, Construction and Architectural Management 25, no. 8 (September 17, 2018): 1075–91. http://dx.doi.org/10.1108/ecam-03-2017-0052.
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Purpose Research into the construction industry’s adoption of modern equipment technologies, such as remote-controlled trucks, excavators and drones, has been neglected in comparison to the significant body of research into the adoption of information technology in construction. Construction research has also neglected to adequately consider the important role of vendors in the innovation diffusion process, focussing mostly on the role of the customer. Set within the context of Australia’s construction industry, the purpose of this paper is to address these gaps in knowledge by exploring the role of customers and vendors in the diffusion of modern equipment technologies into the construction industry. Design/methodology/approach Using contemporary models of innovation diffusion which move beyond the simple dualistic problem of whether innovation is supply-pushed or demand-pulled, 19 semi-structured interviews were undertaken with customers and vendors involved in two major modern equipment technology trade exhibitions in Australia. This was followed by the collection of documentary data in the form of photos, directory books, marketing material, catalogues, websites and booth and exhibition layouts to validate the proposed model and provide insights into vendor marketing strategies. These data were analysed using both content analysis and principal component analysis (PCA). Findings According to the PCA and content analysis, vendor’s engagement in the adoption of modern equipment technologies falls into three stages that correspond to three stages in the customer’s adoption process. In the first stage, customers identify possible solutions and recognise new technologies following a previous recognition of a need. Vendors provide facilities for attracting potential customers and letting customers know that their technology exists and can help solve the customer’s problem. The second stage involves customers gaining knowledge about the details of the new technology, and vendors focusing on detailed knowledge transfer through written materials and demonstrations of the functionality of the new technology. In the third stage, customers have specific questions that they want answered to assist them in comparing different vendors and solutions. By this stage, vendors have built a close relationship with the customer and in contrast to earlier stages engage in two-way communication to help the customer’s decision process by addressing specific technical and support-related questions. Originality/value The originality and value of this research is in addressing the lack of research in modern equipment technology adoption for building construction and the lack of data on the role of vendors in the process by developing a new empirical framework which describes the stages in the process and the ways that customers and vendors interact at each stage. The results indicate that conceptually, as the construction industry becomes more industrialised, current models of innovation adoption will need to develop to reflect this growing technological complexity and recognise that vendors and customers engage differently in the adoption process, according to the type of technology they wish to adopt.
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Mampaso, Ana. ""La Fortuna, por siempre y para siempre”, a cross-generational and participatory documentary." Encounters in Theory and History of Education 11 (September 30, 2010): 25–34. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.2409.
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In this paper we reflect about the participatory video methodology, use video creatively in group development work, through the creation process of “La Fortuna por siempre y para siempre”documentary; a personal point of view from twenty eight children, six youngsters and nine adults about life and living together in the neighborhood “La Fortuna”. Photo camaras, vídeo camaras, words, feellings and creativity are the tolls they used.
The documentary is part of a communication and educational project that invites the participants to use video and photographic language to reflect on their identity and the world where they live. Most local people live in difficult situation and the neighborhood have a very high ratio of inmigrants.
The documentary project promotes the active participation and the social integration of people and collectives from different ages, social conditions, origins and cultures.
It was organized by the Intercultural and Emigration Program of La Fortuna Local Government Cabinet depended on Leganés City Council.
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Sánchez Caballero, Odelín. "The photographic discourse of the funds of the Institute of History of Cuba. An analysis for new uses." Latin-American Historical Almanac 30, no. 1 (June 28, 2021): 201–24. http://dx.doi.org/10.32608/2305-8773-2021-30-1-201-224.
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Photography is the most widely found unwritten textual document in the archives. For this reason, we propose a first approach to the photo-graphic funds of the historical archive of the Institute of History of Cu-ba (IHC) from a comprehensive perspective as a photographic corpus that carries a discourse and not in a fragmented way. For this we will use serialized reading, according to the themes, because it is in the col-lections and archival funds where photography acquires, as an informa-tive medium, true meaning. We will refer only to documentary photog-raphy, which in its testimonial quality preserves the perishable to the collective memory by referring to what happened in concrete reality with a specific time and space, always from the subjectivity of the pho-tographer, which is why it can be used as a historical source of knowledge. Through this work we propose a new institutional use, from the inside archive, that contributes to rescuing the patrimonial values of these funds as one of the essential photographic narratives of the history of Cuba and at the same time perfecting ourselves as public servants. It is not a simple case study, the Institute of History of Cuba is a unique institution in the network of social sciences in Cuba.
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Et.al, Mengyu Li. "Adoption Level of Online Documentary Programs asLearning Material among Students of a ChineseUniversity and its Relationship to Satisfaction." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 11, 2021): 2746–59. http://dx.doi.org/10.17762/turcomat.v12i3.1304.
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The purpose of this research was to identify the significant factorsimpacting the continuing satisfaction of university students and instructors towards e-learning documentary programs learning material in the scope of tertiary education. To recognize the variables influencing on the continuity of e-learning documentary program in higher education institutions, this study employed a descriptive correlational research design. Data were sourced out from 125 Chinese English as a Foreign Language (EFL) learners systematically sampled from a total of 184 population of students with mobile phones enrolled in the English class of College of Foreign Languages in one university in Zhengzhou, China. This present study assessed the relationship between the adoption of online documentary programs and the satisfaction of Chinese EFL learners. The findings surfaced that the students manifest a high level of adoption and satisfaction of online documentary programs towards English course. Test of differences revealed that male respondents have higher satisfaction, appeal to usefulness, acceptability, perceive enjoyment, facilitating conditions, and behavioral intention of online documentary programs than their female. It was found out that respondents find it interesting to use online documentary programs in their English course regardless of their age. Finally, a significant relationship is found between online documentary programs adoption and students’ satisfaction. The positive correlation indicates that the higher the students’ adoption of online documentary programs, the higher they manifest the level of satisfaction. Implications of the study are discussed.
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Street, Richard Steven. "Delano Diary: The Visual Adventure and Social Documentary Work of Jon Lewis, Photographer of the Delano, California Grape Strike, 1966-1970." Southern California Quarterly 91, no. 2 (2009): 191–235. http://dx.doi.org/10.2307/41172470.
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An account of Jon Lewis, photo-journalist and participant in the National Farm Workers Association's (NFWA) Delano, California, grape strike and march on Sacramento in 1966, that explores the struggle to treat participants with dignity while experiencing first-hand the hardships they underwent. In retrospect, Lewis helped to define César Chávez, La Causa, and photo-journalism.