Relevant bibliographies by topics / Glamour photography

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Glamour photography'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Glamour photography"

1

Kowalski, Rosemary. "Hollywood glamour photography." History of Photography 27, no. 3 (September 2003): 301–2. http://dx.doi.org/10.1080/03087298.2003.10441259.

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Brown, Elspeth H. "Queering Glamour in Interwar Fashion Photography." GLQ: A Journal of Lesbian and Gay Studies 23, no. 3 (2017): 289–326. http://dx.doi.org/10.1215/10642684-3818429.

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Glessing, Jill. "Review: Burn with Desire: Photography and Glamour Anti-Glamour: Portraits of Women." Afterimage 42, no. 6 (May 1, 2015): 31–32. http://dx.doi.org/10.1525/aft.2015.42.6.31.

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Dance, Robert, and Bruce Robertson. "Ruth Harriet Louise and Hollywood Glamour Photography." Woman's Art Journal 24, no. 1 (2003): 54. http://dx.doi.org/10.2307/1358818.

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Campbell, Craig. "Old Fields: Photography, Glamour, and Fantasy Landscape." Geographical Review 106, no. 2 (April 1, 2016): e24-e27. http://dx.doi.org/10.1111/j.1931-0846.2015.12115.x.

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Willis-Tropea, Liz. "Glamour Photography and the Institutionalization of Celebrity." Photography and Culture 4, no. 3 (November 2011): 261–75. http://dx.doi.org/10.2752/175145211x13068409556646.

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Desjardins, Mary. "Ruth Harriet Louise and Hollywood Glamour Photography:Ruth Harriet Louise and Hollywood Glamour Photography." Film Quarterly 59, no. 2 (December 2005): 76–77. http://dx.doi.org/10.1525/fq.2005.59.2.76.

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Patrick Keating. "Artifice and Atmosphere: The Visual Culture of Hollywood Glamour Photography, 1930–1935." Film History 29, no. 3 (2017): 105. http://dx.doi.org/10.2979/filmhistory.29.3.05.

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Lavernhe, Margaux. "Re-encoding Glamour from Ghana to England: Illustrated Magazines, Gender Norms and Black Identities through the Lens of James Barnor (1950s–1980s)." Sources 6 (2023): 183–217. http://dx.doi.org/10.4000/11tba.

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How have gender and racial norms conveyed by illustrated magazines—whose circulation exploded in Africa in the 1960s—affected photographers’ local practices? And how, in turn, have they themselves generated this gendered visual order? This article aims to shed light on this two-fold question by proposing a diachronic analysis of the influence of models of femininity transmitted by the illustrated press on the visual imagination of a Ghanaian photographer—as seen in his photographs taken between the 1950s and the 1980s. It explores the links between the publications of the pan-African magazine Drum (the most widely circulated magazine in English-speaking Africa at the time) and its translation into the art of portraiture as practiced by James Barnor (1929-), a photographer with a transnational career, between Ghana and England. Because his professional and personal career path tracked the evolution of these gendered norms, James Barnor became both the repository and the instigator of an idealized vision of “the” African woman.By means of an intersectional focus, the issues of gender norms and of racial biases are examined in parallel to better understand how the photographer appropriated throughout his career the shifting codes of a “female glamour” reinvented for Africa during the post-independence period. While numerous studies have examined the modalities of this codification, in the present paper they are addressed through an in-depth exploration of the photographer's archives, now held in Paris, and combined with an analysis of early issues of Drum. The aim is to juxtapose images intended for publication, i.e. public, with private images in order to consider how the standards of fashion photography infused Barnor’s practices which lie at the crossroad of different social worlds. The corpus composed of portraits of young women is also informed by numerous interviews with the photographer and some of his models, which provide behind-the-scenes insights relative to the published images by exploring their political and social contexts.We first look at Drum’s editorial strategy from its launch in South Africa to its expansion throughout West Africa. While the magazine initially borrowed from white Western references such as Life, it gradually became, to some extent, a showcase for black pride on the continent and in the global diaspora. Then, we study Barnor’s early studio practice as already acutely aware of the codes of femininity enacted by the magazine: this is shown through his “recycling” of the poses and the composition of the images. During the ten years he spent in England, from 1959 to 1969, his collaboration with Drum gave rise to a gallery of portraits of anonymous young women, who became ordinary icons for an ideal African femininity in the context of the diaspora. Finally, in the 1970s, Barnor’s return to Ghana saw the reuse of these codes inherited from the globalized fashion industry combined with the emerging iconography produced by African-American models as a means to create social documentary. In this way, he contributed to an aesthetic of blackness that was constructed within a transnational framework.
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Khalf, Yara A., Ahmed El Antably, and Mona A. Abdelwahab. "A Walk through Urban Decay: al-Hattaba Is Worth Saving!" Sophia Journal 6, no. 1 (January 12, 2022): 170–87. http://dx.doi.org/10.24840/2183-8976_2021-0006_0001_18.

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Beyond the glamour of Cairo history lies a different side of the city that unravels the unique beauty of urban decay. Al-Hattaba, a UNESCO heritage area, is caught in between these narrations of beauty and decay; the beautiful home whose inhabitants want to keep and grow, and the formally enlisted dangerous informal space subject to eviction and demolition. Al-Hattaba embraces the beauty of its rich and diverse history, growing through time. It beholds moments of prosperity, failure, change, beauty, and loss. Urban decay photography is used to interpret al-Hattaba’s controversy and explore the bonds between time and memory. We take the reader through a visual journey in al-Hattaba. It constitutes a photo-sequence that considers al-Hattaba in reflection of its background context, the Citadel of Saladin; historic and residential buildings, some abandoned and attempts of local renovation. This urban setting reflects a rich visual diversity that witnessed its changes through time. We argue that the essence of al-Hattaba’s beauty is in its urban decay. It is a space that will never fail to amaze its visitors with its hidden beauty.
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Dissertations / Theses on the topic "Glamour photography"

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Grunbaum, Barbara. "Glamour /." Online version of thesis, 1987. http://hdl.handle.net/1850/10149.

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Reynolds, Alisa. "Edward Steichen and Hollywood Glamour." UKnowledge, 2014. http://uknowledge.uky.edu/art_etds/9.

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As a word, glamour is hard to define, but is instantly recognizable. Its association with Hollywood movie stars fully emerged in the 1930s in the close-up celebrity portraits by photographers like George Hurrell. The aesthetic properties in these images that help create glamour are characterized by the Modernist style, known for sharp focus, high contrast, seductive poses, and the close-up (tight framing). My essay will explore the origins of the visual aesthetics of glamour, arguing that their roots can be found in the still life photographs of the 1910s, produced by fine art photographers such as Edward Steichen. This essay will primarily focus on the photography of Edward Steichen because he used these same techniques found in his still life portraits on Hollywood celebrities when he began working for Condé Nast’s Vanity Fair and Vogue in 1923. Steichen changed the conversation on how to photograph celebrities and his practices eventually led to the creation of glamour portrait photography. This thesis documents the ways in which Steichen established the precedent for glamour photography when he applied the close-up and Modernist style on Hollywood stars. The result of Steichen’s application was photography that provided visually identifiable and mechanically reproducible glamour.
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Saggese, Antonio José. "Imaginando a mulher: Pin-up, da chérette à playmate." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-29012009-150456/.

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Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações.
Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.
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Plunkett, Claudia Bernadette. "Beauty and the beach." Thesis, 2003. http://hdl.handle.net/10413/7292.

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This dissertation aims to interpret holiday imagery in the media, as a site of South African cultural production, on the basis of newspaper images of local white and black people published in the Natal Mercury from 1966 to 1996. A strong historical approach (the history of the Western holiday) has been taken in order to analyze existing social structures relating to the holiday in South Africa, specifically gender, race and class. These social structures have been examined in depth, with the result of numerous interpretations being made about behaviour and the depiction of behaviour in the context of Durban beaches and leisure.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.
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Books on the topic "Glamour photography"

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Gray, Jon. Glamour photography. London: Hamlyn, 1985.

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Banks, Iain M. Classic glamour photography. New York: Amphoto, 1987.

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Sheila, Hurth, ed. Glamour nude photography. Buffalo, NY: Amhurst Media, 1997.

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Hurth, Robert. Glamour nude photography. Buffalo, NY: Amherst Media, 1999.

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Demarchelier, Patrick. Glamour. Hamburg: Stern, 1999.

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Païni, Dominique, writer of supplementary textual content, ed. Glamour. Trézélan: Filigranes éditions, 2017.

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Galiano, Mário. Glamour. Lisboa: Planeta, 2010.

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Kimber, David. Lighting for glamour photography. London: Apple Press, 1994.

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Demarchelier, Patrick. Patrick Demarchelier: Glamour. Hamburg [Germany]: Stern Gruner + Jahr AG & Co., 1999.

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Banks, Iain M. Classic glamour photography: Techniques of the top glamour photographers. London: Quarto Publ., 2003.

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Book chapters on the topic "Glamour photography"

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Khare, Sarth. "Gurgaon: Unfinished City, a photographic essay." In Embodying Peripheries, 258–73. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-661-2.12.

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As Gurgaon expands horizontally and vertically, it continues to transition from farms to urban villages to a concrete maze. This photographic project documents the growth of Gurgaon a city recently developed near India's capital, Delhi. It is a booming financial and industrial center, home to most Multinational Corporations (MNCs) and has third highest per-capita income in India. As its advocates often like to point out, Delhi’s booming neighbor has 1,100 high-rises, at least 30 malls and thousands of small and big industries. On the other hand, as its detractors unfailingly like to note, the dust bowl’s population has grown two and a half fold, it has 12-hour power blackouts, and its groundwater would probably not last beyond this decade. Gurgaon's transformation began sometime around 1996, with the advent of Genpact, then a business unit of General Electric. Other multinational companies followed it slowly thereafter. It helped that the city was a few kilometers away from Delhi. Two decades on, Gurgaon is already "on its deathbed." From 0.8 million in 2001, the city is expected to reach a population of 6.9 million in 2031. It is speckled with glass buildings with curtain walls, and swish apartment blocks with Greco-Roman influences, but there is little water or power for them. These numbers alone don’t capture the lived reality of Gurgaon, though. The skyline that its older residents were accustomed to has completely disappeared. And yet on the periphery, one sees the "Unfinished City" growing. The landscapes and flora shouting; their sentiments brutalized by evictions and concrete. Slaughtered farms now seem witness to monstrosity with desolate faces and fading memories. Set in 2014 the project explores the ephemerality of Gurgaon’s glamor and defective town planning. Families had been displaced, laborers’ children were growing up on heaps of cement, and farmlands had turned into things of memories.
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"3. Photography." In Glamour in Six Dimensions, 70–96. Cornell University Press, 2020. http://dx.doi.org/10.7591/9781501731242-006.

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"GLAMOUR IN ADVERTISING." In Photography Foundations for Art and Design, 143. Routledge, 2004. http://dx.doi.org/10.4324/9780080473727-72.

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CHECEFSKY, B. "Photography and Desire: Fashion, Glamour, and Pornography." In The Focal Encyclopedia of Photography, 198–204. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80740-9.50020-9.

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CHECEFSKY, B. "Photography and Desire: Fashion, Glamour, and Pornography." In The Concise Focal Encyclopedia of Photography, 84–93. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80998-4.50014-1.

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Ritzenhoff, Karen A. "A maverick on the streets: Bill Cunningham and the documentary process." In Documenting Fashion, edited by Boel Ulfsdotter and Boel Ulfsdotter, 102–21. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474476164.003.0007.

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This chapter considers the New York fashion photographer Bill Cunningham and his photography work on the streets of the Big Apple. By comparing the two feature documentaries dedicated to the photographer: Richard Press’ Bill Cunningham New York (2010) and Mark Bozek’s documentary The Times of Bill Cunningham (2018), Ritzenhoff examines Cunningham’s self-proclaimed definition of ‘fashion historian’, rather than fashion photographer. By studying the films’ documentary process, including Cunningham’s use of analogue technologies for documentation, Ritzenhoff connects Cunningham with Dziga Vertov’s cinema verité and argues that one of Cunningham’s most enduring legacies is the popularisation of street glamour. This, she argues, foregrounds the democratisation of street fashion blogging and social media posts, so common in the present day.
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"Gluttonous Glamour: Gastro-Porn and the Grotesque in Contemporary Fashion Photography." In Fashion and Contemporaneity, 111–31. Brill | Rodopi, 2019. http://dx.doi.org/10.1163/9789004392250_007.

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Glancy, Mark. "Chapter 12." In Cary Grant, the Making of a Hollywood Legend, 140–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0013.

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By the mid-1930s, Cary Grant was a well-established member of Hollywood’s social set. He and Randolph Scott lived in a rented beach house in Santa Monica and held pool-side parties most Sundays, attracting other filmmakers and stars. The home also featured in the publicity Paramount created for them. The photographer Jerome Zerbe captured them at home, by the pool, and on the beach in a naturalistic style quite different from the studio-bound glamour photography that was still the norm in Hollywood. Grant’s career, meanwhile, continued to suffer as Paramount cast him in feeble comedies such as Big Brown Eyes (1936) and Wedding Present (1936). On a “loan-out” to MGM, he had a rare hit film with Suzy (1936). Although Jean Harlow was the film’s true star, the producers at MGM allowed him to work with the scriptwriter Lenore Coffee, moulding his character into one that suited him. The cooperative, creative environment was a revelation to him. Other loan-outs, to Columbia for When You’re in Love (1937) and to RKO for The Toast of New York (1937), did not prove as successful. By 1936, he was so disillusioned with Paramount and with the direction that his career was taking that he decided not to renew his contract with the studio. Instead, he took the brave decision to become an independent or freelance star.
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