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Relevant bibliographies by topics / Historiography and photography / Dissertations / Theses

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Dissertations / Theses on the topic 'Historiography and photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Consult the top 17 dissertations / theses for your research on the topic 'Historiography and photography.'

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1

Fernandez, Eva. "Collaboration, demystification, Rea-historiography : the reclamation of the black body by contemporary indigenous female photo-media artists." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2002. https://ro.ecu.edu.au/theses/741.

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This thesis examines the reclamation of the 'Blak' body by Indigenous female photo-media artists. The discussion will begin with an examination of photographic representatiors of Indigenous people by the colonising culture and their construction of 'Aboriginality'. The thesis will look at the introduction of Aboriginal artists to the medium of photography and their chronological movement through the decades This will begin with a documentary style approach in the 1960s to an intimate exploration of identity that came into prominence in the 1980s with an explosion of young urban photomedia arti

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2

Acar, Sibel. "Intersections:architecture And Photography In Victorian Britain." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611169/index.pdf.

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Architecture and photography have always been closely interacted since the invention of photography in the late 1830s.While architecture has been captured as one of the main subjects of photography, photography has served architecture as a valuable tool of representation. Focusing on the frame defined by Victorian Britain, this study tries to capture intersecting histories between photography and architecture. Accordingly three intersections were defined: the first intersection corresponds to the simultaneous development of photography and architectural photography<br>the second to theinterac

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3

von, Schantz Tylestam Maria. "Eva Klasson : En analys av verk, karriär och reception." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24370.

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The Swedish photographer and artist Eva Klasson, based in Paris in the 1970s, gained attention for her series of black-and-white photography of her own naked body, which opened up for an international artistic career in the late 1970s. Despite a promising career she however abandoned photography and disappeared from the artistic sphere only a few years after her debut. There has been a renewed interest in Klasson’s work in Sweden the last decade where she has been exhibited at museums and galleries. Today she is represented at art museums and institutions including Moderna Museet, The Modern M

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4

Görgen, Carolin. "Out here it is different - The California Camera Club and community imagination through collective photographic practices : toward a critical historiography, 1890-1915." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC010/document.

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Le California Camera Club, un collectif de photographes amateurs et professionnels actif à San Francisco notamment entre 1890 et 1915, est une organisation constamment marginalisée dans l’histoire de la photographie et de l’Ouest américain. En adoptant une double approche d’histoire culturelle et matérielle, cette thèse éclaire une gamme d’activités et de productions de ce club largement inconnu, qui ont contribué à forger l’identité d’une communauté éloignée de l’Ouest. Par son approche inclusive, réunissant plus de 400 membres en 1900, le club doit être considéré comme une organisation local

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5

Qader, Shahram. "Konst och exil : En undersökning av Shirin Neshats fotografi och videokonst i relation till exil." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-27445.

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The Iranian artist Shirin Neshat has been living in self-imposed exile since the late 1970s, as she chose not to return to her home country following the ‘79 Islamic Revolution. Through her works Neshat examines Iran before and after the revolution and follows political and civil transformations through strong photographs of women in her country of birth. My own use of the term exile deals with the analysis of the state of exile in relation to artistic work as a globalized and underlying motivation for art and artists. The new definition of exile is analyzed in relation with the artist’s phot

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6

Oliveira, Valter Gomes Santos de. ""Offereço meu original como lembrança" circuito social da fotografia nos sertões da Bahia (1900-1950)." Faculdade de Filosofia e Ciências Humanas, 2014. http://repositorio.ufba.br/ri/handle/ri/17559.

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Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2015-04-29T14:07:26Z No. of bitstreams: 1 Dissertação de Valter Gomes Santos de Oliveira.pdf: 15128159 bytes, checksum: 41cf77e548a87414e5ae888b2451357d (MD5)<br>Approved for entry into archive by Patricia Barroso (pbarroso@ufba.br) on 2015-05-05T14:20:09Z (GMT) No. of bitstreams: 1 Dissertação de Valter Gomes Santos de Oliveira.pdf: 15128159 bytes, checksum: 41cf77e548a87414e5ae888b2451357d (MD5)<br>Made available in DSpace on 2015-05-05T14:20:09Z (GMT). No. of bitstreams: 1 Dissertação de Valter Gomes Santos de Oliveira.pdf:

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7

Moylan-Brouff, Glenda Silko Leslie Marmon. "Writing counter-histories of the Americas Leslie Marmon Silko's 'Almanac of the Dead' /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060314.105816/index.html.

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8

Agnese, Roberta. "Politiques de la fiction dans les images documentaires. Présentisme et photographie." Thesis, Paris Est, 2019. http://www.theses.fr/2019PESC0059.

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Cette thèse en philosophie esthétique porte sur le statut de la photographie, et plus précisément sur sa capacité à documenter, ainsi que sur les régimes de temporalité qu’elle mobilise dans ses stratégies documentaires. Elle s’inscrit dans le cadre des études visant à analyser liens entre la photographie et l’histoire, et son ambition est de se positionner dans le champ d’une « philosophie de la photographie » ayant comme but celui de comprendre les enjeux cognitifs et épistémologiques de ce médium. Le champ de l’enquête a été formulé à partir de l’œuvre de Walid Raad, et a été ensuite élargi

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9

Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.

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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritie

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10

Strandroth, Cecilia. "In search of the pure photograph : a historiographic study of the Farm Security Administration, Walker Evans, and the survey histories of photography /." Uppsala : Fronton, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8347.

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11

Koetz, Laurent. "Louis-Auguste Boileau (1812-1896) : une figure d'architecte-inventeur au XIXe siècle." Electronic Thesis or Diss., Paris 1, 2020. http://www.theses.fr/2020PA01H078.

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L’étude du parcours de Louis-Auguste Boileau (1812-1896), offre l’opportunité d’éclairer la question du statut de l’invention dans la pratique architecturale au XIXe siècle. Menuisier devenu architecte, Boileau revendique la posture de l’inventeur créant une « nouvelle forme architecturale » en réponse aux attentes de son temps et développant une réflexion historique fondée sur l’élucidation des lois du progrès. La première partie de la recherche est consacrée à l’étude des processus qui permettent à Boileau d’assimiler les matériaux nécessaires à la construction de sa théorie de l’invention a

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12

Rouquet, Camille. "Les icônes du Vietnam et leur pouvoir : mécanismes de consécration des images photojournalistiques et rhétorique de l'influence des médias depuis la guerre du Vietnam." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC278.

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Cette thèse se penche sur les photographies dites « iconiques » issues des contenus photojournalistiques de la guerre américaine au Vietnam. Au cours de l’histoire moderne, quelques dizaines de photographies documentaires, d’art ou de mode ont été consacrées comme « icônes », un terme qui dénote leurs qualités symboliques ou d’incarnation. Parmi ces images, quatre ont émergé de l’archive visuelle de la guerre du Vietnam. Ces quatre icônes sont des images photojournalistiques au contenu choquant, sensationnel ou violent, qui ont fait l’objet de nombreux rappels dans la presse au cours des décen

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13

Bonhomme, Max. "Propagande graphique : le photomontage dans la culture visuelle de la gauche française (1925-1939)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100089.

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Cette étude porte sur la place du photomontage dans le graphisme français de l’entre-deux-guerres, plus particulièrement dans la presse illustrée, l’affiche et la propagande politique. Fondé sur la combinaison d’éléments photographiques de façon à créer des images composites, généralement reproduites par impression photomécanique, le photomontage a été promu par les graphistes d’avant-garde mais aussi par les éditeurs de presse à grand tirage. Il devient à partir des années 1920 un élément caractéristique de la culture visuelle moderne, jusqu’à investir très largement les pavillons de l’Exposi

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14

Kunimoto, Namiko. "Intimate archives : Japanese-Canadian family photography 1939-1949." Thesis, 2001. http://hdl.handle.net/2429/11776.

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Anthony Cohen, in The Symbolic Construction of Community, writes: "the symbolic expression of community and its boundaries increases in importance as the actual geo-social boundaries of the community are undermined, blurred or otherwise weakened." As Japanese-Canadians were uprooted from familiar communities throughout British Columbia and overwhelmed with the loss of those closest to them, photography was employed to recentre themselves within a stable, yet somewhat imaginative, network of relations. Looking became an act of imaginative exchange with the subject - conflating the act of

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15

Achterberg, Robert Alan 1948. "Photographs as primary sources for historical research and teaching in education: the Albert W. Achterberg Photographic Collection." Thesis, 2007. http://hdl.handle.net/2152/3538.

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Photographs contain a wealth of information which may be used effectively in historical research. Visual images may be used as evidence, for illustration, for comparison and contrast, and for analytical purposes. Somewhat perplexing is the relatively minimal use of photographs as primary sources in historical inquiry concerning schooling. Many visual clues exist which can help to explain the activities, methods, resources and quality of schooling, and the people involved in schooling, in selected locations. Visual clues may be coordinated with text and with other artifacts to present a mo

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16

Fitzpatrick, Peter Gerard Media Arts College of Fine Arts UNSW. "The Doulgas Summerland collection." 2007. http://handle.unsw.edu.au/1959.4/44257.

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The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including

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17

Duarte, Miguel Nuno Mesquita. "Imagem (de) Arquivo e Tempo Mnemotécnico: para um projecto de "Arquiviologia" na História da Arte." Doctoral thesis, 2016. http://hdl.handle.net/10362/18800.

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Este trabalho constrói uma proposta para pensar o arquivo na sua relação com a fotografia e o cinema. No seu confronto com estes meios, o arquivo descerra uma ontologia e uma pragmática, adquirindo o valor de um evento: o arquivo intima o passado, um real que se encontra já separado e distante, mas inclui igualmente a possibilidade de retorno do referente como impressão-afecção, arruinando o modelo da representação mimética e a cronologia do antes e do depois. Oferece-se assim uma saída para o impasse das teorias positivistas e pós-modernas, incapazes ambas de dar conta da complexidade históri

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