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1
Brito, Luciana Souza de. "Histórias e memórias institucionais a partir do acervo fotográfico do Centro Universitário Franciscano (1955-1980)." Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/10957.
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This paper presents the study about the Centro Universitário Franciscano´s stories and memories, which can be caught through the analysis of the photographic collection of the institution. The general objective of this work consists on the treatment according to the criteria archival photographic of the Centro Universitário Franciscano, referring to the period between the years
1955 and 1980 with the aim to study and recall the stories and memories of the institution. As specific objectives, are listed the following activities: to do the diagnosis of the acquis and the physical conditions of the images, the lifting of the documentary volume; to do the hygienic process and pack the collection according to the archival criteria and finally to study the histories and
institutional memories from the analysis of the photographic selected series. The work is structured as follows: the first chapter discusses conceptual issues
about the central themes of work: stories and institutional memories and cultural heritage. The second chapter presents a detailed study of the producer
institution of photographic collection and its supporting institution, since its creation in Heythusen the Netherlands, until it s arrive in Brazil and consequently in Santa Maria. Chapter three deals with the haracterization of the photographic collection of the institution, in which activities were developed
for the diagnosis and management of the collection, with activities related to hygiene, identification, organization and packaging. The last chapter covers the
analysis of the photographic collection, through the use of the methodology proposed by Boris Kossoy for the construction of a photographic narrative, and
that consists of the central focus of the work. So, the work is finished with the final considerations of the author and the reference used.Este trabalho apresenta o estudo acerca das histórias e memórias do Centro Universitário Franciscano, que podem ser interpretadas por meio da análise do acervo fotográfico da instituição. O objetivo geral desse trabalho consiste no tratamento, de acordo com os critérios arquivísticos, do acervo fotográfico do Centro Universitário Franciscano, referente ao período situado entre os anos de 1955 e 1980, com a finalidade de estudar e evocar as histórias e memórias da instituição. Como objetivos específicos, elencaram-se as seguintes atividades: realizar o diagnóstico do acervo e das condições físicas das imagens, com o levantamento do volume documental; higienizar e acondicionar o acervo de acordo com os critérios arquivísticos; verificar a possibilidade de utilização do acervo fotográfico como fonte de pesquisa; e por fim estudar as histórias e memórias institucionais, a partir da análise das séries fotográficas selecionadas. O trabalho encontra-se assim estruturado: o primeiro capítulo aborda questões conceituais acerca dos temas centrais do trabalho: histórias e memórias institucionais e o patrimônio cultural. O segundo capítulo apresenta um estudo aprofundado acerca da instituição produtora do acervo fotográfico e de sua instituição mantenedora, desde sua criação em Heythusen na Holanda, até a sua chegada no Brasil e, consequentemente, na cidade de Santa Maria. O capítulo três aborda a caracterização do acervo fotográfico da instituição, no qual foram desenvolvidas atividades referentes ao diagnóstico e gestão do acervo, com atividades referentes à higienização, identificação, organização e acondicionamento. O último capítulo diz respeito à análise do acervo fotográfico, por meio da utilização da metodologia proposta por Boris Kossoy para a construção de uma narrativa fotográfica, e que consiste no foco central do trabalho. Assim, finaliza-se o trabalho com as considerações finais da autora e o referencial utilizado.
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White, Katie Janae. "The War That Does Not Leave Us: Memory of the American Civil War and the Photographs of Alexander Gardner." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4114.
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In July of 1863 the photographs A Harvest of Death, Field Where General Reynolds Fell, A Sharpshooter's Last Sleep, and The Home of a Rebel Sharpshooter were taken after the battle at Gettysburg by a team of photographers led by Alexander Gardner. In the decades that followed these images of the dead of the battlefield became some of the most iconic representations of the American Civil War. Today, Gardner's Gettysburg photographs can be found in almost every contemporary history text, documentary, or collection of images from the war, yet their journey to this iconic status has been little discussed. The goal of this thesis is to expand the general understanding of these Civil War photographs and their legacy by considering their use beyond the early 1860s. Although part of a larger scope of influence, the discussion of the photographs presented here will focus particularly on the years between 1894 and 1911. Between those years they were made available to the public through large photographic histories and other history texts as well. The aim of these texts, which framed and manipulated Gardner's images, were to disseminate a propagandistic history of the war in a way that outlined it as a nationally unifying experience, rather than one of division. These texts mark the beginning of the influence the Gettysburg photographs would have on American memory of the war. Within these books the four photographs became part of a larger effort to reconnect with the past and shape the war into a source for a unified American identity.
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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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McGrath, Roberta. "Geographies of the body and the histories of photography." Thesis, Middlesex University, 2003. http://eprints.mdx.ac.uk/13481/.
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Informed by feminist epistemologies, cultural theory and social history, the thesis takes as its primary focus discourses of gender and sexuality in the field of photographic culture. The accompanying contextualisation reflects the shifting theoretical and methodological terrain of visual cultural studies over the historical period in question (1983 - 2003). Earlier articles cover the project's initial development and subsequent essays navigate the work into a more historical context culminating in Seeing her Sex: Medical Archives and the Female Body (2002). This book draws forms the main body of the submission. It draws upon theories of feminism and sexual difference, the histories of mass-reproducible visual technologies and the philosophy of science in order to understand how human generation became female reproduction. Thus it places photography within a longer historical framework of visual technologies (engraving, lithography, stereoscopy, radiography and microscopy) that amalgamated to produce new kinds of objects and observers. It offers vertical 'deep' studies of particular historical images, and also more lateral, horizontal connections across disciplines. Its approach is therefore interdisciplinary and engages in an argument about the historical and geographical boundaries of knowledge, about what comes before and after and about what gets to lie inside and outside the discursive field of photography. This work examines and develops arguments that are always located in, but also move beyond, the archive. The essays included here re-think questions of visual representation and discursive formations in order to foreground the inter-connected relationships between institutional, cultural and embodied aspects of scholarship. Within the field of visual cultural studies the question of agency and the relationship between theories, histories and politics became urgent in the political climate of the 1980s and 1990s. Increasingly questions of the subject's participation, cultural location and perspective in constructing any 'field' or 'terrain' became important and the relationship between experience and theory has consequently been re-thought. In the later publications the body is therefore discussed as both subject and object of visual knowledge. The work argues against an essentialist understanding of what any 'body' is, and for an understanding of the body in its material and historical corporeality, rather than its biological specificity. Understood as subjective and embodied, situated and partial, this more phenomenological, intersubjective approach to visual cultural studies acknowledges the sensory, emotional and imaginative dimensions of looking. Knowledge here is conceptualised not as possession, but as empathy. What we see as observers depends not only on where we stand but also on how we position ourselves within any given historical field. Moreover, this is a political question; not all perspectives are equal. This work has grown out of an antipathy to the disembodied approach of the humanities within which the human body had become alienated, suspect, denigrated. In its drive for fixed standards, the human sciences subordinated body to mind, emotion to reason thus foreclosing crucial sensory aspects of knowledge and creating an incapacity to acknowledge the wide diversity of our different modes of knowing. Historically, photography certainly does have an ignoble history as a technology of ethnographic domination and control (imperial, colonial, racial or sexual), but it is also, equally, a form of counter-memory. Images are a question of human rights and here visual cultural studies has a key role to play.
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Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
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Dans une époque qui manifeste une exacerbation de la représentation de soi (àtravers les réseaux sociaux notamment), notre objet d'étude propose uneréflexion sur la mémoire et la reconstruction d'histoires dans les pratiquesartistiques. Utilisant comme point de départ une production photographiquepersonnelle (Reprises), nous proposons une articulation entre théorie etcréation, dans une dialectique qui part de l'analyse des oeuvres personnelles,pour établir un dialogue avec des théoriciens et des oeuvres contemporainestraitant ces problématiques. Dans ce type de démarches rétrospectives quiréinterprètent le passé, les artistes travaillent à partir des traces matérielles etmnésiques, telles les images d'albums de famille, les archives, les documents oules témoignages. Mêlant des univers esthétiques différents dans une nouvelleunité, ils font coexister leurs propres images avec des sources existantes, des viesdisparues avec leurs propres existences. Leurs oeuvres deviennent alors unerecréation artistique et postulent un espace narratif singulier qui évoque unepoétique de la mémoire. Partielles et fragmentaires, elles donnent à voir unrécit reconfiguré par l'imaginaire et le montage. Elles dépassent le champstrictement photographique et ouvrent leur langage au dialogue avec les autresarts, prenant la forme d'oeuvres hybrides. Quelle relation établir entre mémoire,reconstruction et identité, entre histoire individuelle et histoire collective ? Si lepassé est métamorphosé, comment le reconstruire ?In a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
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Lavoie, Vincent. "Les énoncés fondateurs de la photographie et de son histoire /." Vincennes : Université Paris-VII, 1993. http://catalogue.bnf.fr/ark:/12148/cb35799274d.
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Nascimento, Maria Jose de Oliveira. "Desenho de luz : caleidoscopio de imagens e historias." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252368.
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Orientadores: Ana Angelica Medeiros Albano, Milton Jose de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutor em Educação
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Crow, Robert. "Reputations made and lost : the writing of histories of early twentieth-century British photography and the case of Walter Benington." Thesis, University of Gloucestershire, 2016. http://eprints.glos.ac.uk/2996/.
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Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. As a result, the work of key photographers such as Walter Benington is now virtually unknown. Benington’s central involvement with the Linked Ring and his national and international exhibition successes demonstrate his significance within post-1890 British photography. Recent moves in the writing of histories of photography have called for the exploration of previously unknown archives and collections. A detailed examination of a cross-section of Benington’s work will illustrate that he was a photographer of great distinction and marked individuality fully worthy of a major reappraisal.
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Day, Meredith. "The New York City Photo League : determining influence through depth interviews with scholars, historians and curators /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422920.
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Bélanger, Michelle. "Vers le paysage : photographie et aménagement des territoires miniers." Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/34173.
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Depuis ces dernières années, un changement d’attitude se fait sentir envers les territoires miniers. Longtemps perçus comme dégradés, voire ruinés, ces territoires se révèlent aujourd’hui comme d’importants témoins historiques et sont en conséquence conservés en tant que paysages patrimoniaux . En 2012, par exemple, le Bassin minier du Nord-Pas de Calais , transformé par l’exploitation du charbon, fut inscrit sur la Liste du patrimoine mondial en tant que paysage culturel vivant évolutif. Portant des caractéristiques uniques, les paysages miniers sont également de nos jours mis en valeur par certaines collectivités comme attractions touristiques. Au même titre que les paysages naturels, ils deviennent d’importants vecteurs de développement économique . La mine, exploitée normalement pour les ressources qu’elle contient, se voit ainsi attribuer de nouvelles valeurs et, également, de nouvelles fonctions. Il s’agit là d’un renversement important dans la façon dont ont été conçus les territoires façonnés par les activités minières . En effet, qui aurait cru que l’on allait gérer et aménager un jour ces territoires à la manière de beaux paysages ? Traduisant cette nouvelle attitude envers la mine, de plus en plus de photographes de tout horizon en font maintenant des représentations paysagères . Les artistes, par exemple, mettent en valeur les formes des territoires façonnés par l’exploitation minière à travers des images qui en révèlent l’esthétique. Avec l’arrivée du numérique et du partage de photographies en ligne, ce type de représentations se voit d’ailleurs récupéré par les photographes amateurs constamment à la recherche de lieux spectaculaires à mettre en images. Diffusées en nombre toujours croissant sur le web, ces photographies ne semblent pas uniquement témoigner de la nouvelle vision paysagère des territoires miniers . En effet, elles auraient aussi la capacité de la former. La présente recherche a pour objectif de mieux comprendre le développement de cette nouvelle sensibilité paysagère envers les espaces miniers. Puisque l’image photographique se dessine comme témoin et possiblement comme acteur de ce nouveau phénomène, cette dernière est utilisée comme fil conducteur afin de mieux saisir comment on fait de la mine un paysage. Ayant le Québec comme terrain d’étude, ce projet analyse les pratiques par lesquelles les territoires miniers sont façonné s et aménagés en tant que paysage, soit par la patrimonialisation, l’appropriation touristique et la naturalisation. Ces pratiques, qui procèderaient à un empaysagement minier, sont ensuite sondées par l’entremise de la photographie et des modèles paysagers qu’elle produit. Rapidement, l’image se révèle comme influençant non seulement le regard porté sur le territoire minier, mais également comme guidant la façon dont on l’investit ou l’habite une fois qu’il est conçu en tant que paysage . Photographie et aménagement des territoires miniers s’orientent donc maintenant , de plus en plus, vers le paysage.These past years, a change of attitude towards mining territories can be felt. Long seen as derelict or even ruined, those territories are now perceived as important historical witnesses and are, therefore, preserved as heritage landscapes. In 2012, for example, the Nord-Pas de Calais Mining Basin was included in the World Heritage List as an organically evolved cultural landscape. Having unique characteristics, mining landscapes are also requalified, in certain regions , as touristic attractions. They then become , just as natural landscapes are today, vectors of economic growth. The mine, harnessed for its natural ressources, is now assigned new values and, as well, new roles. Indeed, who would have thought that it would one day be managed and planned the same way beautiful landscapes are ? Conveying this new attitude towards mining sites , more and more photographers, from all backgrounds, represent them as landscapes. Artists , for example, showcase their wide range of shapes through esthetic images. With the advent of the digital era and online photography sharing, the amateur photographer , who is always searching for spectacular places to photograph , reclaims this type of representation. Disseminated on the web in an ever - increasing number, these photographies do not only attest of a new way of seeing mining territories as landscapes, but without a doubt also shape their perception. This research aims mainly at better understanding the spread of a new way of perceiving mining sites as landscapes . Since the photographic image stands as a witness and possibly as an actor of this phenomenon , it is used as the connecting piece to examine how mines can become landscapes. Focusign on the province of Quebec , this thesis analyses the practices through which mining sites are modeled and converted into landscapes, like patrimonialization, tourism development and nature restoration. These pratices, taking part in a process called empaysagement minier (mining landscaping), are then examined through photography and the landscape archetypes it produces. The photographic image quickly reveals itself as influencing not only the way we see mining sites, but it also seems to guide the way they are reappropriated and inhabited once they are perceived as landscapes . Therefore, photography and planning of mining territoires both reveal themselves as being more and more landscape oriented .
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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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Mnyaka, Phindezwa Elizabeth. "Re-tracing representations and identities in twentieth century South African and African photography: Joseph Denfield, regimes of seeing and alternative visual histories." Thesis, University of Fort Hare, 2012. http://hdl.handle.net/10353/540.
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The thesis examines the photographic collection of Joseph Denfield, an archivist and historian who experimented with photography over a twenty-year period. The study is located within the field of critical visual studies that focuses on historical photography in its depiction of identities and groups in the context of social change. The thesis pays attention to the manner and extent to which Denfield participated in regional visual economies at various moments during his photographic career in order to establish his contribution towards a visual history in Africa and more broadly Southern Africa. It follows Denfield’s career trajectory chronologically. It begins with a study of his photographic work in Nigeria which was oriented around so-called ‘pagan tribes’ and which was framed within the discourse of ethnography. It then pays attention to his growth as an artist in photography that resulted from years of exhibiting in salons. I read these photographs and texts in relation to his earlier work in Nigeria given the extent to which he drew on anthropological discourses. It is through his involvement with photographic art circles that Denfield developed as a historian as a result of his research into the history of photography and regional visual histories. This took the form of both unearthing historical photographs as well as photographing historical sites to construct the past in particular ways through the visual. At each stage he translated these histories into public forms of representation and power thus he figures among a small group of ‘colonial’ photographers that shaped the visual economy of Southern Africa. Through a detailed study of his work, the thesis thus aims to re-think through new dimensions of visual culture.
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Mccall, Jennifer Danielle. "Renegotiating Identities, Cultures and Histories: Oppositional Looking in Shelley Niro's "This Land is Mime Land"." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4149.
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My master's thesis explores the photographic series "This Land is Mime Land," which Shelley Niro made in 1992. Despite this work's complex form and structure, there are currently no sustained studies of this series alone, or books solely dedicated to Niro's art. Instead, "Mime Land" is often discussed in compilations that address a number of Native artists, Western feminist practices, or multiple works in Niro's oeuvre. My thesis fills this gap, as I closely investigate how "Mime Land" asks the viewer to look at visual culture, histories and Niro herself. Bell hooks's definition of the "oppositional gaze" - meaning a way of looking that challenges the conventions of visual culture by implementing the media's tools (film and photography) to construct new images of self - provides the framework for my analysis. Specifically, I contend that the subject, form and structure of "Mime Land" critically intervene in mainstream visual culture by asking the viewer to look at Native American women's identities, cultures and histories in new ways; ways that disavow the conventions of dominant visual representations and return the power over one's image to Niro, her family and community. My study demonstrates this thesis through a close consideration of the context contemporary to the work's production; a detailed examination of the photographs in the series; and an analysis of the work's overall structure.
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Almeida, Wilson Ricardo Antoniassi de [UNESP]. "Retrato da escola: estudo de imagens fotográficas do cotidiano escolar." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/90074.
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almeida_wra_me_rcla.pdf: 2272783 bytes, checksum: c9495ecc6aee8d630aa69f4816bce471 (MD5)Este trabalho propõe o estudo de imagens fotográficas que retratam cenas e situações do cotidiano escolar numa instituição educacional pública de Limeira, estado de São Paulo, como fonte histórica e de memória para a Educação e como meio de compreensão da realidade de cada evento a partir de seus significados, identificando aspectos da cultura escolar e analisando eventuais semelhanças e transformações ocorridas no processo educacional, no período compreendido desde a criação da instituição educacional (1934) aos dias atuais (2010). O retrato da escola é desvendado, prioritariamente, por meio da leitura e interpretação de fotografias – encontradas no próprio arquivo da instituição ou coletadas de álbuns de retratos de pessoas que tiveram alguma relação com a escola – pois nelas está depositado uma imensa riqueza de perceptos e afetos. Cada detalhe presente na imagem fotográfica é vestígio que representa um tempo, um espaço, uma situação e a relação entre pessoas em um determinado contexto da história, funcionando como um dispositivo de elucidação das relações entre a escola e o tempo. Essa investigação decorre do diagnóstico de vestígios histórico-filosóficos, culturais e socioeconômicos visíveis ou invisíveis na imagem fotográfica, como também, de sensações, emoções e sentimentos deflagrados no pesquisador no momento da observação, interpretados conforme a sua cultura e subjetividade. Para contextualizar com maior rigor as situações e os dados apresentados pelas imagens fotográficas, a pesquisa, ocasionalmente, utiliza-se de depoimentos semi-estruturados – principalmente de pessoas que compõem a conjuntura apresentada pela fotografia. Explora-se o potencial das fotos como materialidade das imagens, suficiente para desvendar, compreender e descrever as semelhanças e contrastes entre o plano da intencionalidade e plano da realização
This work proposes the study of photographic images that depict scenes and everyday situations in a public educational institution School of Limeira, São Paulo State, such as memory and historical source for education and as a means of understanding the reality of each event from their meanings, identifying aspects of school culture and analyzing any similarities and transformations in the educational process, in the period since the creation of educational institution (1934) to the present day (2010). The portrait of the school is unveiled, primarily through the reading and interpretation of photos – found in the file itself or institution albums collected portraits of people who have had some relationship with the school – because them are deposited an immense wealth of perceptos and affections. Every detail present in the photographic image is vestige that represents a time, a space, a situation and the relationship between people in a given context of history, functioning as an elucidation of the relationships between the school and the time. This research follows the historical traces diagnostic-philosophical, cultural and socioeconomic visible or invisible on the photographic image, as also of sensations, emotions and feelings that were triggered in the browser at the time of observation, interpreted according to their culture and subjectivity. To contextualize the situations with greater rigour and the data submitted by photographic images, research, occasionally using semi-structured – mainly testimonials of people who make up the environment presented by photography. Explores the potential of the photos as materiality of images, enough to uncover, understand and describe the similarities and contrasts between the plane of intentionality and the plan of implementation
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Pertoldi, Brigitte. "Le monument historique et l'image photographique au XIXème siècle /." Paris : B. Pertoldi, 1992. http://catalogue.bnf.fr/ark:/12148/cb35744652z.
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Řádková, Kristýna. "Vývoj fotografie a význam současné reportážní a dokumentární fotografie." Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-194523.
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This Master's Thesis is focused on evolution of photography with focus on photojournalism and documentary photography and aims to prove that this genre, though it may seem that it's currently on the decline, is still important. The theoretical part contains general history and definition of photography, pointing out the relationship between photography and art and describes the most important theories of aesthetics of photography. Then the work is focused purely on photojournalism and documentary photography. It describes the relationship and the difference between these genres. Further the thesis is focused on the ethics of photography and manipulation of images. The practical section consists of analysis of technical requirements on photo equipment with regard to individual areas of photojournalism and documentary photography. The following part contains practical examples based on author's experience and the work concludes with compilation of several Czech photographers' answers to questions about photojournalism and documentary photography.
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Sniderman, Julia. "An adaptation of visitor employed photography to study enivironmental [sic] perceptions in the historic/cultural landscape a case study of the Bristol, Rhode Island Historic District /." [Madison, Wisc.] : Univ. of Wisconsin-Madision, 1986. http://catalog.hathitrust.org/api/volumes/oclc/15358719.html.
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Santos, Sara Orcelli dos. "Propostas de ações de difusão para o acervo fotográfico do Museu da Cidade do Rio Grande- RS." Universidade Federal de Santa Maria, 2014. http://repositorio.ufsm.br/handle/1/11048.
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This dissertation is presented as the result of the master's research developed at the Professional Postgraduate Program in Cultural Heritage from the Federal University of Santa Maria (PPGPPC/UFSM). The theme oh this work is the diffusion of cultural heritage. As object of the study, we present the photographic collection of the Historical Collection of the Museum of the City of Rio Grande - RS. The development consists on the study and planning actions for the diffusion of heritage, from the recognition of photographs as Documentary Heritage. Therefore, we present the characterization of the research, its objectives and methods, as well as reflections on the theoretical reference used, encompassing cultural heritage photographs as documentary heritage and the ways and kinds of diffusion. Furthermore, we propose a discussion about the institutional activities that must be performed before implantation of diffusion actions. As the result and product, we present diffusion strategies that integrate the Diffusion Program of the photographic collection of the Museum of the City of Rio Grande, for which we use a sample of the collection, with the theme of Customs and Port of Rio Grande City.Esta dissertação é apresentada como resultado da pesquisa de mestrado desenvolvida junto ao Programa de Pós-Graduação Profissional em Patrimônio Cultural da Universidade Federal de Santa Maria (PPGPPC/UFSM). A temática desse trabalho é a difusão do patrimônio cultural. Como objeto de estudo, apresentamos o acervo fotográfico da Coleção Histórica do Museu da Cidade do Rio Grande - RS. O desenvolvimento consiste no estudo e planejamento de ações voltadas para a difusão de bens patrimoniais a partir do reconhecimento das fotografias como Patrimônio Documental. Para tanto, apresentamos a caracterização da pesquisa, seus objetivos e métodos, assim como, reflexões acerca do referencial teórico utilizado, abarcando patrimônio cultural, fotografias como patrimônio documental e as formas e tipos de difusão. Além disso, propomos uma discussão sobre as atividades institucionais que devem ser realizadas antes da implantação de ações de difusão. Como resultado e produto são apresentadas às estratégias de difusão que integram o Programa de Difusão do acervo fotográfico do Museu da Cidade do Rio Grande, para o qual utilizamos uma amostra do acervo, com a temática do Porto e Alfândega da Cidade do Rio Grande.
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Cronholt, Karin. "Kvinnliga fotografer : förutsättningar i Göteborg för ett professionellt yrkesliv år 1900." Thesis, Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-1026.
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The purpose of this essay is to investigate the working conditions of professional photographers at the start of the 20th century. The aim of this essay is to provide a glimpse into this specific time-period with the main question: How were the working conditions for professional photographers? More specifically, this essay will provide a detailed picture that focuses on the difficulties women encountered, when attempting to make photography a legitimate professional career and combined with the traditions as wife and woman.The essay is divided into three main parts. By looking at statistical databases such as Swedish National Archive’s and other recourses, the first part establishes what Swedish society was like after the reforms that had taken place by the end of the 19th Century. Once the working conditions, and life in-general for women, are set, the second section of the essay examines the lives of specific photographers through the analyses of different categories and relevant statistics. Finally, the third part discusses the reasons why there were, at times, similar working conditions for women, and at other times, the working conditions were not equal. The analysis of the material supports a conclusion that suggests that, although there was a great deal of progress toward equality, working conditions of women professional photographers differed because of the rights married and unmarried women had in 1900.
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Alves, Fabiana Aline. "Fotojornalismo à força : ângulos e planos dos agentes políticos no regime militar brasileiro (1966-1975) /." Assis, 2017. http://hdl.handle.net/11449/151904.
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Orientador: Áureo BusettoBanca: Paulo César Boni
Banca: Célio José Losnak
Banca: Carlos Alberto Sampaio Barbosa
Banca: Milton Carlos Costa
Resumo: As amarras realistas permeiam o ato fotográfico. Contudo, compreendê-lo como algo inquestionável apaga a natureza social da prática fotográfica e, ao fazê-lo, escamoteia uma das suas principais virtudes: o discurso fotográfico. Assim, esta pesquisa entende historicamente a atuação da fotografia na imprensa escrita brasileira entre 1966 e 1975, refletindo especialmente sobre o processo de produção de significados no fotojornalismo em relação ao poder. Para tanto, debruça-se sob as fotografias das autoridades e dos agentes da oposição da época publicadas nas seções de política dos jornais O Estado de S. Paulo, Jornal do Brasil, e das revistas Manchete e Veja, objetos-fontes desta pesquisa. Com este material e entendendo historicamente a dinâmica da atividade fotojornalística no período em questão, é possível afirmar que as construções discursivas do fotojornalismo sobre o contexto histórico vivido pelo país apresentam a materialização dos anseios, inquietações e posições políticas dos seus profissionais e veículos de imprensa, evidenciando a possibilidade de interpretações em torno da fotografia e do poder. Por fim, ao compreender como a ideia de documento na fotografia, ligado à captura e substituição do real, permanece atuante na prática da atividade, destaca-se também o deslocamento da fotografia de função exclusiva de testemunho para a de conhecimento, deslocando a ideia de fotografia-documento para de fotografia-expressão na prática jornalística
Abstract: The realist moorings permeate the photographic act. However, comprehend it as something unquestionable erases the social nature of photographic practice, and in so doing, it hides one of its principal virtues: the photographic discourse. Thus, this research understands historically the actuation of photography in the Brazilian written press between 1966 and 1975, reflecting especially on the process of production of meanings in the photojournalism in relation to the power. To do so, it analyzes at the photographs of the authorities and opposition agents of the epoch published in the politics sections of the newspapers O Estado de S. Paulo, Jornal do Brasil, and the Manchete and Veja magazines, objects-sources of this research. With this material and understanding historically the dynamics of the photojournalistic activity in the period in question, it is possible to affirm that the discursive constructions of the photojournalism on the historical context lived by the country present the materialization of the yearnings, concerns and political positions of its professionals and press vehicles, emphasizing the possibility of interpretations around photography and the power. Finally, in comprehending how the idea of document in photography, linked to the capture and replacement of the real, remains active in the practice of the activity, it stands out also the displacement of the photograph of exclusive function of witness to that of knowledge, shifting the idea of photography... (Complete abstract click electronic access below)
Doutor
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Elibio, Junior Antonio Manoel. "A construção da liderança politica de Flores Cunha : governo, historia e politica (1930-1937)." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280111.
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Orientador: Vera Hercilia (Vavy) Pacheco BorgesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta pesquisa tem como objetivo analisar a trajetória política de José Antônio Flores da Cunha que governou o Estado do Rio Grande do Sul entre os anos de 1930 e 1937. As questões que orientaram esta investigação giraram em torno da análise da construção da liderança política de Flores da Cunha através da troca epistolar com inúmeros atores políticos e sociais. Nesse sentido, as perguntas às quais procuramos responder podem ser formuladas nos seguintes termos: Quais eram os liames políticos estabelecidos por Flores da Cunha e o Governo Federal? Como situar a gestão política de Flores da Cunha no âmbito dos Partidos Políticos do Rio Grande do Sul? Quais os embates travados pelo político nos momentos da Revolução de 1930, Revolução Constitucionalista de 1932, durante os trabalhos da Assembléia Nacional Constituinte em 1934 e a partir da decretação do Estado de Sítio em 1935? Para discutir esses aspectos, empregamos como fonte tanto os documentos epistolares depositados no Centro de Pesquisa de História Contemporânea do Brasil ¿ CPDOC ¿ FGV, no Fundo do Gabinete Civil da Presidência no Arquivo Nacional, no acervo da Biblioteca Nacional-, quanto os jornais A Federação, Jornal da Manhã, Correio do Povo, Diário Liberal depositados no acervo do Museu de Comunicação Social Hipólito da Costa. Além disso, também usamos como fontes as edições da revista do Instituto Histórico e Geográfico do Rio Grande do Sul publicadas entre os anos de 1921 e 1937. Os resultados aos quais chegamos possibilitam apreender que, embora não exercendo uma efetiva interferência na política nacional, Flores da Cunha mediou constantemente às demandas políticas e econômicas do Rio Grande do Sul e, a partir de 1935, iniciou um franco confronto com Getúlio Vargas. Concluímos, também, que a mediação de Flores da Cunha entre o poder federal e as elites econômicas e políticas do Rio Grande do Sul, não se fundou exclusivamente em uma mera disposição deste em acatar as designações do Governo Federal, mas, sim, constituiu uma prática política de negociações baseada numa diversidade de interesses circunstanciais
Abstract: This research aims to analize the political trajectory of José Antônio Flores da Cunha who has led the brazilian state of Rio Grande do Sul between the years of 1930 and 1937. The issues that guided this investigation revolved around the analyses of the construction of the political leadership of Flores da Cunha through the exchange of written record with many social and political actors. Due to this fact, the questions that are sought to be answered can be made on these terms: What were the political limits stablished by Flores da Cunha and the Federal Government? How to locate the political management of Flores da Cunha in the Political Parties scenario in Rio Grande do Sul? What were the conflicts fought by this politician during the 1930¿s Revolution, the Constitutional Revolution of 1932, during the works around the stablishment of the Federal Constitution in 1934 and from the time of the State of Siege in 1935? To discuss these aspects, the source of the research was as follows: the letters found at the Centro de Pesquisa de História Contemporânea do Brasil ¿ CPDOC ¿ FGV, at the Fundo do Gabinete Civil da Presidência no Arquivo Nacional, the collection found at the Brazilian National Library, the newspapers A Federação, Jornal da Manhã, Correio do Povo, Diário Liberal, stored at the Museu de Comunicação Social Hipólito da Costa in Porto Alegre. Some issues of the magazine of the Instituto Histórico e Geográfico do Rio Grande do Sul, published between the years of 1921 and 1937, were used as source as well. The results achieved made it possible to learn that, although not making an effective interference in the national politics, Flores da Cunha mediated constantly the economic and political demands of Rio Grande do Sul, and starting in 1935 he iniciated an open confrontation with Getúlio Vargas. It was also concluded that the mediation of Flores da Cunha between the federal power and the economic and political elites of Rio Grande do Sul wasn¿t simply based in his attempts to attack the designations of the Federal Government, but instead, it was a political practice of negociation settled on a variety of circunstancial interests
Doutorado
Politica, Memoria e Cidade
Doutor em História
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Bizello, Maria Leandra. "Entre fotografias e fotogramas : a construção da imagem publica de Juscelino Kubitschek (1956-1961)." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285134.
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Orientador: Marcius Cesar Soares FreireTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objetivo deste estudo é analisar a construção da imagem pública de Juscelino Kubitschek no período de sua presidência nos anos de 1956 a 1961 nas revistas Manchete, O Cruzeiro, cinejornais e documentários realizados nessa mesma época. Para esta análise partimos das relações entre cinema, fotografia e história entendendo as imagens fotográficas e cinematográficas como documentos históricos. A visualidade da política relaciona-se com o poder entendido como espetáculo estabelece relações com a sociedade na medida em que a política não está isolada de outros setores sociais. A imagem pública de Juscelino Kubitschek está intimamente ligada ao seu próprio tempo, ás crises políticas, militares e econômicas que enfrentou enquanto presidente. As imagens da construção da nova capital federal, Brasília, contribuíram para legitimá-lo como um presidente dinâmico, visionário e moderno. Os rituais de poder, a vida em família e o cotidiano de trabalho durante seu governo são faces que constituem sua imagem pública. Analisamos como essa construção vincula-se às relações entre os meios de comunicação de massa e o Estado.
Abstract: The objective of this study is to analyze the construction of Juscelino Kubitschek 's public image in the period of his presidency during the years from 1956 to 1961 in Manchete, O Cruzeiro, newsreels and documentaries carried out in the same time. For this analysis we started from the relations between cinema, photography and history understanding the photographic and cinematographic images as historical documents. The expose of the politics is connected with the power which is understood as a show and also establish relations with the society in the way that politics is not isolated from other social sectors. The public image of Juscelino Kubitschek is intimately connected with his time and with the political, military and economical crises that he faced while president. Doe to the pictures produced because of the construction of the new federal capital, Brasilia, his image of a dynamic, visionary and modern president was reinforced. The rituals of power, the family life and his ordinary way of working were the characteristics that constituted his public image. We analyze the construction of his image linked to the relations between the mass media and the State.
Doutorado
Doutor em Multimeios
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Santana, Samantha Perez de. "Getúlio Vargas, do homem ao mito político: a desconstrução de uma imagem (1930-1945)." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/12627.
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Previous issue date: 2010-11-22Conselho Nacional de Desenvolvimento Científico e Tecnológico
This paper aims to analyze and deconstruct the image created by Getúlio Vargas through photographic production from 1930 to 1945. The images deal with several faces assigned to Vargas compose the political imaginary of the period, pointing to the importance of understanding how the use of these images was guided and by intentions, interests, conflicts and political projects. The set of documents used in this study is found in iconographic collection of CPDOC (Brazilian Contemporaneous History Research Center). The images research showed to different approaches about the social production of photography and also how the cultural filters that surround it - the photographer, the represented people, the setting and the theme assigned - can influence on the picture, building and educate the eye
Essa dissertação tem por objetivo analisar e desconstruir a imagem criada para Getúlio Vargas através da produção fotográfica de 1930 a 1945. As imagens tratam das múltiplas faces atribuídas a Vargas e compõem o imaginário político do período, apontando para a importância de entendermos como o uso dessas imagens foi norteado por intenções, interesses, conflitos e projetos políticos. O conjunto documental, usado nesta pesquisa, encontra-se no acervo iconográfico do CPDOC (Centro de Pesquisa e Documentação de História Contemporânea do Brasil). A investigação das imagens apontou para diferentes abordagens sobre a produção social da fotografia e sobre como os filtros culturais que a cercam - o fotógrafo, os representados, o cenário e as temáticas atribuídas - influem sobre a imagem, construindo e educando o olhar
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Gil, Bell Rebecca María. "Atrapando la luz. Origen y materialidad de la fotografía." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398147.
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La fotografía irrumpe en el siglo XIX como una invención que viene para cambiar el discurso general de la Historia del Arte. Su emancipación y legitimidad como práctica artística tardará en aceptarse debido a numerosas causas: su dependencia de la historia oficial del arte; su difícil aceptación como una práctica artística equiparable a la pintura o a la escultura; la consideración de ser una práctica auxiliar de estas artes y el trato despectivo que se le da, como mera técnica reproductiva consecuencia de los avances de la ciencia y de la técnica. La resistencia a reconocer su importancia será no obstante vencida por su rápida difusión e implantación. La extensión e importancia que tuvo su práctica, unida a su valor económico creciente impedirá, no obstante, reconocer su enorme valor y trascendencia. En consecuencia, la memoria de sus orígenes desaparecerá en su vertiginoso proceso de transformación técnica y material.
La fotografía en su imparable avance se convertirá en un instrumento imprescindible
para el arte y la ciencia de su época. Si embargo, la cultura visual de su tiempo no pudo percibir la enorme transformación cultural y cognitiva que la fotografía representó y predijo.
Esta investigación trata de recuperar su origen y materialidad, así como su dimensión
mítica y científica, al indagar en sus precedentes técnicos e iconológicos.
La fotografía es vista aquí como una invención presentida y anunciada desde una historia y una filosofía que debe rehacer sus fundamentos.The photography burst into the nineteenth century as an invention that comes to change the general discourse of art history. Its emancipation and legitimacy as artistic practice, will be take a long time to be accepted due to numerous reasons: its dependence on official art history; its hard acceptance as an artistic practice comparable to painting or sculpture; its consideration to be an auxiliary practice of these arts, and the contemptuous treatment is given as mere reproductive technique, result of advances in science and technology. The resistance to recognizing its importance will nevertheless will be overcome by their rapid dissemination and implementation. The extent and importance of his practice, coupled with its growing economic value, prevent however, recognize the enormous value and significance. Accordingly, the memory of its origins disappear in its rapid process of technical and material transformation. Photography in its relentless advance will become an essential tool for art and science of his time. However, the visual culture of his time could not perceive the enormous cultural and cognitive transformation that photography represented and predicted. This research tries to regain its origin and materiality and its mythical and scientific dimension to inquire into its technical and iconological precedent. The photograph is seen here as a presaged and announced invention from a history and a philosophy that must rebuild its foundations.
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Ramírez, Salgado Adriana. "Representaciones de identidad cultural en la fotografía regional. El caso de Gilberto Aparicio Guerrero y Francesc Casañas Riera (1927-1932)." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/397805.
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Se estudia las imágenes hechas en provincia, denominadas como fotografía regional, con el fin de encontrar discursos y crónicas visuales que refirieran a los modos de vida, mentalidades y cultura, entre otras, de una población.Para ello se refieren estos conceptos básicos en relación a lo que debe entenderse como fotografía regional y el estado de la cuestión en la que permanece dentro de la historia de la fotografía.En este estudio se indago en relación a dos las poblaciones con sus respectivos fotógrafos para efectuar una investigación comparativa: Tlatlauquitepec, Puebla, México con retratos de Gilberto Aparicio Guerrero; y Sabadell, Barcelona, España con imágenes de Francesc Casañas Riera.El estudio de caso que se realizó en este trabajo de investigación, permite observar y comparar las formas de trabajo, temáticas, mentalidades, las representaciones de identidad cultural de cada población; así como conocer de las historias personales de los autores y cuánto de ello influenciaba su labor fotográfica.La fotografía es tomada como documento y fuente de información primaria, y no como meras ilustraciones al texto. La microhistoria fue la base fundamental para historiar la fotografía regional y con ello efectuar una microhistoria fotográfica como una propuesta metodológica para este tipo de retratística.Gracias al paradigma construccionista social al que se apega el doctorado estudiado por mí, planteo aspectos que hablan de mi relación con la fotografía, el interés por estos temas de estudio. También hago un pequeño recuento historiográfico por el construccionismo social y la microhistoria.
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Akama, Regina Chiga. "A formação da identidade feminina : reconstruindo a memoria e a historia de vida de ex-alunas do internato São Paulo Saihou Jogahuin." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284710.
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Orientador: Etienne Ghislain SamainDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A pesquisa recupera a memória e a história de vida de ex-alunas do Internato "São Paulo Saihou Jogakuin", a importância desta instituição na formação de sua identidade feminina. O estudo é uma abordagem antropológicavisual que se debruça sobre fotografias de arquivos institucionais e pessoais das depoentes. A imagem dialoga com outros dois suportes comunicacionais da condição humana, a escrita e a oralidade, na realização desse trabalho. Os saberes adquiridos no internato e as temáticas abordadas pela educadora são comparados com a importância que tiveram na constituição histórica de vida das ex-alunas, definindo suas posturas segundo éticas (e estéticas) perante o casamento, o lar, a maternidade e a profissão. A reconstituição de suas histórias de vida permitiu às ex-alunas se posicionarem em relação ao mundo na atualidade, traçando comparações com as perspectivas femininas (ou do papel feminino) da sociedade na época em que ainda eram alunas da instituição (elementos da memória reminiscente).
Abstract: Research recovers the memory and history of life of Sao Paulo Saihou Jogakuin boarding school's ex-students, the importance of this institution on the development of their female identity. This study is a visual-anthropological approach that employs photographs of institutional and personal registers of the deponents. In this study, image dialogues with two other resources of the human condition which are the writing and the orality. The knowledge acquired at the boarding school and the subjects explored by the teacher are compared to the importance of the history of life of those ex-students, determining their behavior concerning to ethics (and aesthetics) toward marriage, home, maternity and occupation. The reconstitution of their history of life permitted to the ex-students to situate them in relation to the present time, making comparisons with the female perspectives (or of female role) of the society when they still were students of the boarding school (elements of the remaining memory).
Mestrado
Mestre em Multimeios
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Ncube, Sikhululekile. "Mapping and assessment of changes in ecosystem service delivery : a historical perspective on the Tweed catchment, Scotland, UK." Thesis, University of Dundee, 2016. https://discovery.dundee.ac.uk/en/studentTheses/44841db4-3d1e-4d41-a72a-a8f75813d9e9.
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For centuries, river catchments and their constituent habitats have been altered and modified through various human activities to maximise provision of tangible benefits like food and water, while impacting on their capacity to provide other less obvious but equally important benefits for human survival. However, in the last few decades, perceptions on the role of catchments as mere providers of tangible benefits have been changing, as recognition has been given to other human beneficial services like regulation of floods. This recognition has drawn increased interest in both science and policy, towards understanding human-nature relations and how approaches like the ecosystem services concept can inform sustainable management of catchments. Although, the multiple and differently weighted relationships existing between habitats and ecosystem services have been acknowledged, the relationship between spatio-temporal change in habitats and spatio-temporal change in ecosystem services delivery, has not received as much attention in the research literature. In this thesis, it is argued that this is an important omission as spatio-temporal habitat change could have broader consequences for ecosystem services provided by a catchment. On this basis, this study maps and assesses the influence of habitat changes across space and time on ecosystem services delivery at a local catchment scale. Approaches to assessing ecosystem service delivery across landscapes and catchments draw on habitat mapping data for those landscapes or catchments. Such data are in turn used as proxies for estimating different ecosystem services delivered by the landscape or catchment based on their integration with other spatial or non-spatial data. To date this approach has been applied to assess contemporary delivery of different ecosystem services. The basis of the approach taken in this study involved comparing a pre-existing contemporary ecosystem service assessment of two chosen sub catchments of the Tweed catchment in Scotland, with a similar assessment based on a set of older “historic” habitat maps for the mid-20th century period. Derivation of the digital map base for the latter was a major focus of the present study. Aerial photography taken during the Royal Air Force surveys in the 1940s archived in the Royal Commission on Ancient and Historical Monuments of Scotland were obtained and first scanned digitally, arranged into a mosaic of adjacent images and ortho-rectified to remove camera distortion. These photo mosaics were then visually interpreted and, aided with ancillary data, the current (2009) habitat maps were edited and backdated to derive the historic habitat maps for the study catchments. The Spatial Evidence for Natural Capital Evaluation (SENCE) ecosystem services mapping approach was then used to translate generated habitat maps into ecosystem service supply maps. Findings show that the study catchments changed from multifunctional to intensively managed landscapes by 2009, with a higher capacity for supplying provisioning ecosystem services, while their capacity to supply regulating and supporting ecosystem services was reduced. Findings also show that a change in one habitat type results in changes in multiple ecosystem services, while changes in the spatial configuration of habitats reduces areas with high supply capacity for regulating and supporting ecosystem services. This study concludes that ecosystem service delivery is not only affected by changes in gross area of constituent habitats but also by spatial changes in the configuration and distribution of these habitats. In this regard, it is argued that recognising and understanding changes in ecosystem services adds an important strand in catchment management. It is therefore suggested that planning for future ecosystem services in catchment management needs to be informed by historic baselines.
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Garcia, Luciara Bruno [UNESP]. "Barroco paulista: novas possibilidades de documentação." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/132596.
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000856099.pdf: 23903176 bytes, checksum: 270cac79e67507891207467cad1d754a (MD5)Esta pesquisa trata do trabalho do fotógrafo Germano Graeser, que juntamente com Mário de Andrade e Luiz Saia iniciaram as atividades do Serviço do Patrimô- nio Histórico e Artístico Nacional - SPHAN em São Paulo. Foram levantados, identificados e registrados com documentação fotográfica os patrimônios arquitetônicos do Estado de São Paulo pesquisados pelo Serviço, entre os anos de 1937 - 1966. A pesquisa também propõe uma atualização documental dos registros criados durante aqueles anos, com a utilização da tecnologia da fotografia digital e da técnica da fotografia panorâmica 360 graus, com as quais criaram-se tour virtuais pelos lugares fotografados.
This research is about the work of photographer Germano Graeser who along with Mario de Andrade and Luiz Saia started the activities of the National Historical and Artistic Heritage Service - SPHAN in Sao Paulo. It was collected, identified and recorded with photographic documentation the architectural heritage of the State of Sao Paulo surveyed by SPHAN between the years 1937 - 1966. The research also proposes a documentary update of records created during those years, with the use of photography digital technology and technique of photography panoramic 360 degrees, used to create a virtual tour of the places photographed.
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Souza, Marcieli Brondani de. "A AUTENTICIDADE E A ORGANICIDADE NOS ACERVOS FOTOGRÁFICOS DO PATRIMÔNIO DOCUMENTAL À LUZ DA DIPLOMÁTICA CONTEMPORÂNEA." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/11067.
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This research sought to analyze, based on the principles of Contemporary Diplomatic, elements and
characters that allow to guarantee the authenticity and the organicity in the photographic collections of
documentary heritage. For a long time the photographs were treated as documents belonging to
special files, as needed to be stored in different places than where the text documents were kept
considering its specific support, and received differentiated technical treatment from the other
documents. Due to this physical separation, the photographs did not receive a proper archival
treatment, becoming mere document accumulated masses, affecting their organic relations and
authenticity. Currently, with the facilities provided by the use of digital technologies, the situation of
photographic collections can be even more compromised. The photos are produced and disseminated
quickly in digital media, and can easily lose its identity, its origin, its organicity and all the information
that should remain linked to it, hurting its authenticity this way. The research was conducted under two
Federal Institute of Superior Education (UFAM and UFSM), where interviews were conducted with the
producers of photos and sent questionnaires to the central archives of the institutions, using e-sic, to
understand how to give the archival processing of photographs. This research is characterized as
exploratory, from the objective point of view and has qualitative and applied nature approach. The
organicity and authenticity nature of the photographs belonging to the archival document heritage are
closely linked to the treatment to be given to them throughout their life cycle. Therefore, the analysis
and discussion of the results was based on three axes considered fundamental to ensure the
authenticity and organicity of the photographic collections of cultural heritage: the maintenance of
chain of custody of digital photographs with the use of reliable systems to provide management and
the archival management of digital photos; the understanding of the specificity and complexity of
digital archival documents, aiming to propose performing procedures to properly handle photographs
as digital archival documents; the inclusion of photographs in the document management programs of
institutions according to Resolution 41, recently published by CONARQ. It was stated that the control
of the production of photographs, the correct storage, preservation of the characteristics of archival
documents, the adequacy of the classification plans to contemplate the photos, assigning codes to
photos while in production, carrying out elimination procedures based on the evaluation of documents
and the execution of all these procedures using archival management information systems that follow
the requirements of e-ARQ Brazil avoid the appearance of accumulated document mass and the
break-up of sets of documents, ensuring that photographs keep their organic relations, and remain
whole and authentic. The achievement of the objective of this research, made possible the formulation
of recommendations to ensure the authenticity and the organic in the collections of documentary
heritage, focused to photograph production sectors of the institutions and central archives that define
policies for these sectors. Please note that this research, a pioneer in its context, must be expanded in
order to include all issues related to the chain of custody and management of digital archival
documents associated to photography.Esta pesquisa procurou analisar, com base nos princípios da Diplomática Contemporânea, elementos e caracteres que viabilizem garantir a autenticidade e a organicidade nos acervos fotográficos do patrimônio documental. Por muito tempo as fotografias foram tratadas como documentos pertencentes aos arquivos especiais, já que necessitavam ser armazenadas em ambientes diferenciados dos locais onde eram guardados os documentos textuais, considerando suas especificidades de suporte, e recebiam tratamento técnico diferenciado dos demais documentos. Em decorrência dessa separação física, as fotografias não recebiam tratamento arquivístico adequado, tornando-se meras massas documentais acumuladas, afetando suas relações orgânicas e autenticidade. Atualmente, com as facilidades proporcionadas pelo uso das tecnologias digitais, a situação dos acervos fotográficos pode ficar ainda mais comprometida. As fotografias são produzidas e difundidas rapidamente em meio digital, podendo perder facilmente sua identidade, sua proveniência, sua organicidade e todas as informações que deveriam se manter vinculadas a ela, ferindo sua autenticidade. A pesquisa foi realizada no âmbito de duas Universidades Federais de Ensino Superior IFES (UFAM e UFSM), onde foram feitas entrevistas com os produtores das fotografias e enviados questionários aos arquivos centrais das instituições, via e-sic, visando compreender como se dá o tratamento arquivístico das fotografias. Esta pesquisa caracteriza-se como exploratória, do ponto de vista dos objetivos, possui abordagem qualitativa e natureza aplicada. A organicidade e a autenticidade das fotografias pertencentes ao patrimônio documental arquivístico estão intimamente ligadas ao tratamento que será dado a elas durante toda seu ciclo vital. Diante disso, a análise e discussão dos resultados foi pautada em três eixos considerados basilares para garantir a autenticidade e a organicidade dos acervos fotográficos do patrimônio cultural: a manutenção da cadeia de custódia das fotografias digitais com a utilização de sistemas confiáveis para proceder o gerenciamento e a gestão arquivística das fotografias digitais; a compreensão acerca das especificidade e complexidades dos documentos arquivísticos digitais, visando propor a realização de procedimentos para tratar adequadamente as fotografias como documentos arquivísticos digitais; a inserção das fotografias nos programas de gestão documental das instituições, de acordo com o que preconiza a Resolução 41, publicada recentemente pelo CONARQ. Concluiu-se que o controle da produção das fotografias, o correto armazenamento, a preservação das características dos documentos arquivísticos, a adequação dos planos de classificação visando contemplar as fotografias, a atribuição de códigos à fotografias já na sua produção, a realização de procedimentos de eliminação baseados na avaliação de documentos e a execução de todos esses procedimentos via Sistemas Informatizados de Gestão Arquivística que sigam os requisitos do e-ARQ Brasil evitam o surgimento de massas documentais acumuladas e o desmembramento dos conjuntos documentais, garantindo que as fotografias mantenham suas relações orgânicas, além de se manterem integras e autênticas. O atingimento do objetivo geral desta pesquisa, viabilizou a elaboração das recomendações para garantir a autenticidade e a organicidade nos acervos do patrimônio documental, voltada aos setores produtores de fotografias das instituições e arquivos centrais que emanam políticas para esses setores. Salienta-se que esta pesquisa, pioneira em seu contexto, deverá ser ampliada no sentido de contemplar todos os assuntos referentes à cadeia de custódia e gestão de documentos arquivísticos digitais no que tange a fotografia.
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Malherbe, Johanna Francina. "Die rol van neentiende-eeuse fotografie in eietydse bewaring : William Roe en Graaff-Reinet." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95870.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This study aims to understand the role that 19th century photography can play in the reconstruction of an era and in the conservation of cultural heritage in the 21st century. The photo collection of William Roe, a photographer from Graaff-Reinet, is used as an example. The origin and development of Graaff-Reinet is used as background information and major events such as the Great Trek, the arrival of the railway, the Anglo-Boer War, the First World War and the Great Flu are touched upon. Aspects such as education, churches, the library and the hospital in Graaff-Reinet complement the study. An overview of the development of photography covers several early photo-making processes. These include the daguerreotype process, Talbot's paper negative process, collotype and the popular carte de visite photographs. Photography specifically in South Africa is also conferred, with particular reference to the first photographers working in the country. Reference is made to the important influences major events like the discovery of diamonds and gold as well as the Anglo-Boer War had on photography. The discussion of William Roe as human being and his legacy as a photographer forms an integral part of the study. The Victorian period is discussed since this was the period in which Roe worked and lived. It had a formative influence on his workmanship. An overview of the Victorian period in England is followed by specific focus on South Africa during this time. The rush to the diamond fields, issues with language and the trends of the times are pointed out. Many of these trends are specifically indicated and discussed as they appear in Roe’s photos. The photos have been categorized to clarify analysis of the different cultural phenomena. The architecture and historical background of Graaff-Reinet’s churches and public buildings are discussed. Streetscapes and images of the town as a whole show the development and daily activities that took place. Photos of clothing represent a reconstruction of the fashions of the concurrent Victorian era and those of public events such as sporting events, celebrations, plays and a gathering during the Anglo-Boer War, display the social life of the community. The role of human memory in the writing of cultural history is compared with the “memory” role of photographs. At the same time the ability of photographs to reflect not only physical culture, but also abstract concepts, receives attention. The use of these abilities of photography in the preservation of culture is a challenge for conservationists of the 21th century.
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die rol wat 19de-eeuse fotografie kan vervul in die rekonstruksie van ’n era en in die bewaring van kultuurgoedere vir die 21ste eeu, aan te spreek. Die fotoversameling van William Roe van Graaff-Reinet word as voorbeeld gebruik. Die ontstaan en ontwikkeling van Graaff-Reinet word as agtergrond behandel en belangrike gebeurtenisse soos onder meer Die Groot Trek, die koms van die spoorlyn, die Anglo- Boereoorlog, die Eerste Wêreldoorlog en die Groot Griep word uitgewys. Aspekte soos opvoeding, kerke, die biblioteek en hospitaal is aanvullend bestudeer om ’n volledige beeld van Graaff-Reinet daar te stel. ’n Oorsig oor die ontwikkeling van fotografie dek verskeie vroeë fotoprosesse soos die daguerreoproses, Talbot se papiernegatief, die calotipe-fotoproses en die gewilde carte-devisite- foto's. Fotografie in Suid-Afrika word bespreek met spesifieke verwysing na die eerste fotograwe wat in die land werksaam was. Daar word verwys na die invloed wat belangrike gebeurtenisse soos die ontdekking van diamante en goud, asook die Anglo-Boereoorlog, op fotografie in Suid-Afrika gehad het. Die ondersoek na William Roe as mens sowel as sy nalatenskap as fotograaf vorm ’n belangrike onderdeel van die studie. Die Victoriaanse era word bespreek aangesien dit die tydperk was waarin Roe geleef en gewerk het, en dus ’n vormende invloed op sy werk gehad het. ’n Oorsig oor die Victoriaanse era in Engeland word gevolg deur ’n beskouing van dié era in Suid-Afrika. Die stormloop na die diamantvelde, taalkwessies en heersende modeneigings word uitgewys. Baie van die modeneigings word tydens die ontleding van die kultuurverskynsels op die Roe-foto’s opgemerk en bespreek. Die foto’s vir die ontleding van kultuurverskynsels is in kategorieë ingedeel. Die argitektuur en historiese agtergrond van kerke en openbare geboue word bespreek. Straat- en dorpsbeelde dui die ontwikkeling van en bedrywighede op die dorp aan. Kleredragfoto’s bied ’n rekonstruksie van die modes van die Victoriaanse era terwyl die foto’s van openbare geleenthede soos sportbyeenkomste, feesvieringe, toneelopvoerings asook ’n samekoms tydens die Anglo-Boereoorlog die sosiale lewe van die inwoners van die dorp aandui. Die rol van die menslike geheue in kultuurgeskiedskrywing word vergelyk met die rol van foto’s as “geheue”. Terselfdertyd word die vermoë van foto’s om nie net fisiese kultuur te weerspieël nie, maar ook abstrakte konsepte te verteenwoordig, behandel. Die aanwending van hierdie eienskappe van fotografie in kultuurbewaring is ’n uitdaging vir bewaringskundiges van die 21ste eeu.
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Silva, Rita de Cássia Portela da. "Padrões de metadados para instrumentos de pesquisa: a integração em benefício do usuário tendo por base o acervo da Fábrica Rheingantz." Universidade Federal de Santa Maria, 2010. http://repositorio.ufsm.br/handle/1/10964.
Full textAbstract:
This work aims, in general terms, to analyze the possibility of integration of metadata standards in the development of finding aids for photographic archives, favoring the user in the recover of the wanted images. In specific terms, it intends to present the photographic archives in the context of documentary heritage, including its characteristics as well as the knowledge area that act in its treatment in order to facilitate its access and the utilization by the users; to analyze procedures, methods
and standards of Archives Administration, Librarianship and Museum studies, susceptible to be used in the preparation of instruments that allow the recovery/location of photographs, to study the provisions and applications of Semantic Web and Web 2.0 in order to use them as instruments to disseminate archival descriptions and, developing descriptions from the integration of metadata standards between those areas. To this end, there were used the methods of literature review and case study. There are presented, in this sense, the finding aids developed in the Historical Documentation Center Professor Hugo Alberto Alves Pereira, Federal University of Rio Grande, from the integration of metadata standards used by the archive and library science, as well as codified in EAD (Encoded Archival Description).Este trabalho visa analisar a possibilidade de integração de padrões de metadados no desenvolvimento de instrumentos de pesquisa para acervos fotográficos, favorecendo o usuário na recuperação das imagens desejadas. Em termos específicos, se propõe a apresentar os acervos fotográficos no âmbito do patrimônio documental, compreendendo suas particularidades bem como as áreas do conhecimento que atuam em seu tratamento no intuito de viabilizar seu acesso e utilização por parte dos usuários; analisar procedimentos, métodos e padrões empregados por profissionais da Arquivologia, Biblioteconomia e Museologia, passíveis de serem utilizados na elaboração de instrumentos que possibilitem a recuperação/localização de fotografias que podem integrar acervos de arquivos, bibliotecas e museus; estudar os preceitos e aplicações da Web-Semântica e Web 2.0 no intuito de utilizá-los como ferramentas de divulgação de descrições de acervos e; desenvolver descrições a partir da integração de padrões de metadados entre as referidas áreas. Para tanto, utilizou-se dos métodos de pesquisa bibliográfica e estudo de caso para o desenvolvimento de instrumentos de pesquisa para o Centro de Documentação Histórica Professor Hugo Alberto Pereira Alves da Universidade Federal do Rio Grande, a partir da integração de padrões de metadados utilizados pela Arquivologia e Biblioteconomia, bem como sua codificação em EAD (Encoded Archives Description). Neste sentido, o trabalho é constituído dos capítulos: acervos fotográficos de arquivos bibliotecas e museus na perspectiva do patrimônio documental; procedimentos e métodos da Arquivologia, Biblioteconomia e Museologia para elaboração de instrumentos de pesquisa para acervos fotográficos; Web Semântica e Web 2.0 e o acesso aos recursos informacionais do patrimônio documental; descrição do Acervo Fotográfico Rheingantz: catálogo do dossiê Prédio e Casas; a integração de padrões de metadados na descrição do Acervo Fotográfico Rheingantz; além dos capítulos de introdução e considerações finais.
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Baldani, Cámara María Ana. "Catalogación de la obra fotográfica de Pedro Ferrer. Propuesta de creación de un archivo virtual unificado." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/383755.
Full textAbstract:
Pedro Ferrer (1870-1939) desarrolló una ingente labor como fotógrafo e impresor en España y en la Papelería de Ferrer, la que luego de varias décadas de funcionamiento en la Calle Real 61 de La Coruña, se disolvió después de su fallecimiento. El patrimonio familiar se dividió entonces entre sus hijos, y es de esta manera como llegó parte del mencionado archivo a Buenos Aires en la década del ’40, con motivo de la emigración de tres de sus hijas y herederas a Argentina. Este fue el inicio de la propuesta del tema de investigación para la tesis doctoral, ya que el material original de Pedro Ferrer, cuyo valor histórico y documental podía intuirse, se consideraba desaparecido y, sobre todo, diseminado por incontables archivos personales y familiares en Galicia y en el mundo entero debido a las características propias de su extensa labor en el área de la tarjeta postal ilustrada y fotográfica.
La obra fotográfica de Pedro Ferrer pertenece al grupo de los primeros, de los pioneros, en Galicia. Muy pocos fotógrafos se hallan documentados en profundidad en esa región desde la aparición de la fotografía, a mediados del siglo XIX.
Su obra acompañó el cambio de siglo, vivió la etapa denominada entresiglos, enriqueciendo con su aporte el panorama nacional y regional, haciendo posible el conocimiento de una región, la suya, a través de imágenes que relatan su geografía, sus costumbres, artes y vida. Su amplia y variada labor de documentación de la Galicia de inicio del siglo XX cobra hoy particular relevancia y valoración histórica.
Los avances técnicos propios de la fotografía en relación con las artes gráficas contribuyeron a cimentar el floreciente negocio de Pedro Ferrer en La Coruña. En el nacimiento, desarrollo y ocaso de la Papelería de Ferrer conoceremos una especial participación de tres regiones geográficas diferentes como son Cataluña, Galicia y Buenos Aires.
Esta propuesta de trabajo demandó:
A - Localizar y reproducir las imágenes de Pedro Ferrer conservadas en Archivos y colecciones públicas y privadas.
B - Localizar la documentación referida tanto a su vida como al comercio familiar que permitiera conocer su biografía y desarrollo profesional.
Al reconstruir la biografía y la obra de Pedro Ferrer, creemos estar contribuyendo al conocimiento de la Historia de la Fotografía Española y más específicamente a la Historia de la Fotografía en Galicia. Creemos también que, al hacerlo, podremos entender la importancia que su accionar ha tenido en pro de la difusión de la fotografía en Galicia, y en especial en su ciudad: La Coruña.
Esta importancia es tal que sus publicaciones, en especial su Portfolio Galicia y su serie de tarjetas postales, han dado la vuelta al mundo y han llevado la fotografía a una gran cantidad de países y ciudades.
Con este trabajo de investigación, aspiramos entonces a enriquecer el panorama de la fotografía gallega a través de un catálogo virtual que recupere la obra fotográfica de Pedro Ferrer de la diáspora que la ha caracterizado.
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Machado, Marla Eveline Martins. "PLANO DE MARKETING PARA O ACERVO FOTOGRÁFICO DO DEPARTAMENTO DE ARQUIVO GERAL DA UNIVERSIDADE FEDERAL DE SANTA MARIA." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/11001.
Full textAbstract:
The photographic heritage of the General Archive Department (DAG) of the Federal University of Santa Maria (UFSM) is located on the ground floor of the Rectory in University City/Santa Maria. This collection has a large number of photographs that record the history of the first university founded in the city that was not the state capital, thus constituting an important source of scientific research and information. This study aims to develop a marketing plan to disseminate these photographs to the academic community. The DAG collection of has, approximately, 85.130 images on flexible negatives, which were produced between 1958 and 2002, and closed its production in the last year, giving way to digital photography, which are recorded on optical disks (CD), a total of 88 CDs, containing about three thousand images produced between 1998 to 2009. The search for information in the collection is made through an updated database, which was developed with the Microsoft Office Acces program. It is being implemented a new software for searching, called ICA-AtoM, a multilingual application for easy searching, covering the web environment and totally based on the International Standard for Describing Archives - ISAD(G), which structure is covered by the Brasilian Standard for Archival Description (NOBRADE). The researcher who comes to see the photographic collection must fill out a form containing basic identification information, however, as the marketing plan was established, a new form called Registration Data of the DAG Collection Photo Researchers was adopted, as a way to receive feedback of the information when needed. Based on information obtained from the researchers registration forms of the year 2005 to 2010, it was possible to see that the main research group consists of academics from the Media, Archival Science, History and Architecture and Urbanism courses. It can be best explored potential users, in other words, those who do not yet use the collection for reference, but may use it, they are: ordinary citizens, professionals who use this material as a raw material in their routine and virtual users. Once the collection is located at an Federal University, it doesn t intend to generate profits, so the marketing plan will focus on quality service to these two types of users. Thus, marketing strategies have been established in order to educational, cultural, editorial spread and with the use of computer resources. In this context, the marketing plan was formed from the redefinition of the information, adding new activities, along with those applied prior to the drafting of this project, employing tactics that are best suited to this type of collection. It is observed that there are many marketing strategies that can be deployed, most are accessible, low cost and easy applicable.O patrimônio fotográfico do Departamento de Arquivo Geral (DAG) da Universidade Federal de Santa Maria (UFSM) está localizado no térreo do prédio da Reitoria, na cidade Universitária/Santa Maria. Esse acervo possui grande número de fotografias que registram a história da primeira universidade fundada em cidade que não fosse capital de Estado, constituindo, assim, uma importante fonte de pesquisa científica e de informação. O presente estudo tem como meta elaborar um plano de marketing a fim de difundir estas fotografias frente à comunidade acadêmica. O acervo do DAG é formado por, aproximadamente, 85.130 imagens em negativos flexíveis, que foram produzidos entre os anos de 1958 e 2002, sendo encerrada sua produção nesse último ano, dando espaço à fotografia digital, as quais são gravadas em discos ópticos (CD), existindo um total de 88 CDs, contendo aproximadamente três mil imagens produzidas entre os anos de 1998 até 2009. A busca por informações no acervo é feita através de um banco de dados atualizado, que foi desenvolvido com o programa Microsoft Office Acces. Atualmente já esta sendo implantado um novo software para a busca, chamado ICA-AtoM, sendo um aplicativo multilíngue de fácil procura, que abrange o ambiente web e totalmente baseado na Norma Internacional para Descrição de Arquivos ISAD(G), cuja estrutura está contemplada pela Norma Brasileira de Descrição Arquivística (NOBRADE). O pesquisador que chega para consultar o acervo fotográfico deve preencher uma ficha, contendo informações básicas de identificação, porém, conforme o plano de marketing estabelecido foi adotado uma nova ficha chamada Dados Cadastrais dos Pesquisadores do Acervo Fotográfico do DAG, pois esta, melhor ajudará a fazer um feedback das informações quando forem necessários. Com base nas informações obtidas nas fichas cadastrais dos pesquisadores do ano de 2005 a 2010, pode-se constatar que o principal grupo de pesquisadores é composto pelos acadêmicos dos cursos de Comunicação Social, Arquivologia, História e Arquitetura e Urbanismo. Podendo ser explorado melhor os usuários potenciais, ou seja, aqueles que ainda não utilizam do acervo para consulta, mas que podem vir a utilizá-lo, sendo eles: cidadãos comuns, profissionais que utilizam desse material como matéria-prima na sua rotina e usuários virtuais. Por o acervo estar inserido numa Universidade de âmbito federal, este não tem por objetivo gerar lucros, portanto o plano de marketing terá como foco o atendimento com qualidade a esses dois tipos de usuários. Dessa maneira, foram estabelecidas estratégias de marketing com vista à difusão educativa, cultural, editorial e com a utilização de recursos disponibilizados pela informática. Nesse contexto, o plano de marketing foi constituído a partir da redefinição das informações, incorporando novas atividades, juntamente com aquelas aplicadas antes da elaboração deste projeto, empregando táticas que melhor se adaptam a esse tipo de acervo. Observa-se que existem inúmeras estratégias de marketing que podem ser implantadas; a maioria é bem acessível, sendo de baixo custo e de fácil aplicação.
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Moi, Claudia. "Explorações do olhar : ciencia e arte nas fotografias da Comissão Geografica e Geologica de São Paulo." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284808.
Full textAbstract:
Orientador: Iara Lis SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-05T17:00:31Z (GMT). No. of bitstreams: 1 Moi_Claudia_M.pdf: 15385504 bytes, checksum: 40558fdb6357f585d185a8ba95b3c2cb (MD5) Previous issue date: 2005
Resumo: Esta pesquisa investiga a construção de significados, usos, funções e circulação das fotografias produzidas pela Comissão Geográfica e Geológica durante viagens de exploração científica ao sertão do estado de São Paulo entre os anos de 1905 e 1920. Primeiramente, o trabalho discute o lugar da Comissão Geográfica e Geológica dentro de um âmbito político e cultural sobre do sertão paulista. Em fins do século XIX e XX esse sertão era concebido no campo imaginário literário e imagético como sinônimo do atraso, da barbaria e do arcaico em oposição ao litoral entendido como o progresso, a civilização e a modernidade. Assim sendo, para a elite política, econômica e letrada da época, o sertão paulista era uma zona problemática, pois além de contar com a ¿incômoda¿ presença indígena, também, apresentava uma ¿vergonhosa lacuna¿ nos mapas do estado de São Paulo. Por meio da cartografia e da fotografia solucionou se questão com a ocupação visual e simbólica desse espaço pela missão civilizadora da ciência. Assim, o sertão transfigurado, a ¿lacuna¿ do mapa foi preenchida por uma profusão de imagens de paisagens naturais. Paisagens essas descritas e registradas pelos fotógrafos da CGG, tal como o faziam artistas viajantes das missões cientificas do século XIX, um misto de ciência e arte. Portanto, a pesquisa, busca entender de que maneira, no campo da visualidade do neste período, princípios estéticos como as idéias do sublime, do belo e do pitoresco migraram da pintura para a fotografia da CGG afinando a noção de sertão a uma concepção da visualidade
Abstract: The current research aims to investigate the building of meanings, usages, functions and the spreading of the pictures produced by the ¿Comissão Geográfica e Geológica¿ (Geographical and Geological Commission) during scientific exploration trips to the backwoods of the São Paulo State between years 1905-1920. Firstly, the current work discuss the situation of the Geographical and Geological Commission inside the political and cultural atmosphere related to the paulista backwoods. At the end of the 19th century and beginning of the 20th century, this backwoods were conceived, in the imaginary-literary field and of image in general, as a synonym of backwardness, of barbarism and of archaic times in opposition to the seaside, understood as progress, civilization and modernity. Thus, for the political, economical and learned elite of that time, paulista backwoods were a problematic region, due to the fact that there was the troublesome indian presence. Besides that, paulista backwoods were a ¿shameful blank¿ in the maps of the São Paulo State. Using cartography and photography there was a solution for the issue, with the visual and symbolic occupation of this blank by the scientific civilizing mission. Thus, with the backwoods transmuted, the blank in the map was filled by a profusion of natural landscapes images, which were described and registered by the photographers of CGG, just as the traveling artists of the 20th century scientific missions did, a mixture of science and art. Therefore, the research aims to understand, in the field of visualization at the beginning of the 20th century, by which means esthetic principles such as the ideas of the sublime, the beautiful and the picturesque migrated from the painting to the photography of CGG, tuning the backwoods conception to a traditional conception of the visible
Mestrado
Multimeios
Mestre em Multimeios
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Fernandes, Ana Rita Vidica. "Tempo andante da intervenção urbana: relações temporais nas obras “Imagens posteriores”, “Giganto” e “Polaroides (in)visíveis”." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7077.
Full textAbstract:
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Made available in DSpace on 2017-04-05T13:14:48Z (GMT). No. of bitstreams: 2 Tese - Ana Rita Vidica Fernandes - 2017.pdf: 12892566 bytes, checksum: 4eeeea5a0bf5e72420ead3e842bdd9cf (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-16
Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
The research “Walking time of urban intervention: temporal relations in the works ‘Imagens Posteriores’, ‘Giganto’ and ‘Polaroids (in)visíveis’ derives from reflections on time in three urban interventions with photography, namely Patricia Gouvêa’s “Imagens Posteriores” (2000-2013), Raquel Brust’s “Giganto” (2009-2013) and Tom Lisboa’s “Polaroides (in)visíveis (2005-2011). I place myself before the images and documents-sign of the works bearing in mind the proposition of the philosopher and historian Georges Didi-Huberman (1998, 2013, 2015), out of which emerges a temporal crossing of past, present and future. This crossing is due to the perception of the lines of time proposed by the philosopher Gilles Deleuze (1987): “time wasted”; “time lost”; “time regained” and “time rediscovered”. Furthermore, it is added the concept of “walking time”, set up by the researcher, concerning the temporal structure that results from the association of “time happening” with “plain space”. The perception of theses times leads to the discussion of the temporal crossings in relation to other urbanity, photography and art images, anachronicaly seen within the works (anachronies-process, anachronies-plasticity, anachronies-form), directed towards the past. And towards the future, at the meeting with the looks in the city (looks-invisibility, looks-emancipation, looks-circulation), it brings out relationship between work, artist, spectator, either in the virtual or in the urban space.
A pesquisa “Tempo andante da intervenção urbana: relações temporais nas obras “Imagens Posteriores”, “Giganto” e “Polaroides (in)visíveis” é resultado das reflexões sobre o tempo em três intervenções urbanas que se utilizam da fotografia. Coloco-me diante das imagens e dos documentos-signo das obras “Imagens Posteriores” (2000-2013) de Patricia Gouvêa, “Giganto” (2009-2013) de Raquel Brust e “Polaroides (in)visíveis” (2005-2011) de Tom Lisboa, conforme proposição do filósofo e historiador da arte Georges Didi-Huberman (1998, 2013, 2015), de onde emerge um cruzamento temporal entre passado, presente e futuro. Este cruzamento se dá na percepção das linhas de tempo propostas pelo filósofo Gilles Deleuze (1987): “tempo que se perde”, “tempo perdido”, “tempo que se redescobre” e “tempo redescoberto”. Além dessas, acrescenta-se o conceito de “tempo andante”, criado pela pesquisadora, que diz respeito à estrutura temporal que se dá na associação entre “tempo do acontecimento” e “espaço liso”. A percepção desses tempos desemboca na discussão dos cruzamentos temporais na relação com outras imagens da arte, da fotografia e da urbanidade, vistas de modo anacrônico no interior das obras (anacronias-processo, anacronias-plasticidade e anacronias-forma), direncionando-se ao passado. E, ao futuro, no encontro com os olhares na cidade (olhares-invisibilidade, olhares-emancipação e olhares-circulação), fazendo emergir relações entre obra, artista e espectador, tanto no espaço urbano quanto no virtual.
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Cseh, Gabriella. "Histoires d'intérieur(s). Essais de reconstruction de lieux de mémoire parisiens : les espaces intérieurs d’André Kertész et de Brassaï aujourd’hui." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040110.
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L’objet d’étude de cette thèse porte sur les anciens lieux d’habitation parisiens d’André Kertész et de Brassaï, tels qu’ils existent aujourd’hui. Il repose sur une analyse de photographies puisées dans leurs archives et sur un travail de terrain effectué dans ces lieux désormais habités par d’autres occupants. La prise de contact avec les habitants actuels a été l’occasion d’une collaboration participative puisque ces images d’archives ont généré un travail de création collective : placés à différents postes, différents points de vue préalablement identifiés dans ces anciens clichés, ces habitants ont effectué eux-mêmes un travail de re-photographie simultané. Cette recherche est le résultat d’une expérience urbaine qui combine documentation, interprétation et création. L’étude de deux archives photographiques, nous a permis d’identifier sept intérieurs et de répertorier un corpus de cinquante-sept clichés d’époque. Le caractère social et interactif de notre méthode de travail vise à une meilleure appréhension de ces lieux d’habitation et de notre héritage culturel dans une perspective de transmission; l’aboutissement étant une production plastique, une image panoramique cumulant différentes époques dans un même espace. Pour l’étude des rapports relationnelles des images et la définition des champs de représentation et d’interprétation, nous nous sommes appuyés sur le schéma de l’intertextualité. Nous avons cherché des analogies permettant de comparer les créations re-photographiques avec le modèle genettien de l’intertextualité. Ce principe d’une organisation « intervisuelle » a été complété par des méthodes théoriques chronologiques, topographiques et médiatiquesThe topic of my thesis is the former dwelling places of two famous Hungarian photographers, André Kertész and Brassaï. It identifies the pieces of the archives which were made in the private spaces of the artists. The identification is carried out through getting into the flats, into the spaces. Getting in touch with the present occupants is the beginning of a collective creative work. The pictures are taken in these spaces, from different point of views, but at the same time. My work is a documentation of an urban experience with a structure of a network. The research, which is built on the visual content of the archives, presents factual results and interpretational creative activity as well. Seven found interiors and the two archives have been examined, 57 pictures have been identified, which shed light on new parts of the artists’ biographies. The social requirement of the method of working up serves the collective cognition of cultural memories, the discovery of one’s own living space and the possibilities of passing them on. The act of Rephotography, points towards the future and makes the recipient think on. To interpret the relative relationship between the pictures, the thesis examines the possible representative domains of the photographical metaphor of intertextuality. It looks for analogies which enable that the works made in intervisual spirit could be compared to Genette’s intertextuality and it completes the method of arrangement with further chronological, topographical and medial theoretical schemes
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Aguiar, Alessandro de Assis Pinto. "SOCIABILIDADE GOIANIENSE DURANTE O REGIME AUTORITÁRIO: UM ESTUDO A PARTIR DA OBRA DE HÉLIO DE OLIVEIRA." Pontifícia Universidade Católica de Goiás, 2014. http://localhost:8080/tede/handle/tede/3331.
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Previous issue date: 2014-12-02La dissertation étudie les transformations de la société dans la ville de Goiânia, analyse les effets de la culture autoritaire implanté au debut de la dictature civile militaire. Sa source fondamentale est la production imagetique du photographe Helio de Oliveira, qui a travaillé comme photographe officiel du gouvernement depuis la décennie des années 40 du siècle XX. Pour avaliser les images, nous utilizons les ta reference semiotique de Charles Peirce. Le premier chapitre present un tableau general de la vie urbaine dans la nouvelle capitale de L Est de Goiás. Le second chapitre liste les changements de la sociabilité avec un impact du monvement golpiste. Le troisième chapitre enfoque les redefinitions de la politique e de l espace publique dans la modernité goianiense.
Esta dissertação estuda as transformações da sociabilidade na cidade de Goiânia, analisando os efeitos da cultura autoritária implantada pelo inicio da ditadura civilmilitar. Sua fonte básica é a produção imagética do fotógrafo Hélio de Oliveira, que trabalhava na função de fotógrafo oficial do governo desde a década de quarenta do século XX. Para analisar as imagens, utilizamos o referencial da semiótica de Charles Peirce. O primeiro capítulo apresenta um quadro geral da vida urbana na nova capital do Estado de Goiás. O segundo, relaciona as mudanças da sociabilidade com o impacto do movimento golpista. O último capítulo enfoca as redefinições do político e do espaço público na modernidade goianiense.
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Santos, Wagner Serafini dos. "EXPOSIÇÃO FOTOGRÁFICA SOBRE A REVOLTA MILITAR DE 1926 EM SANTA MARIA, RS, BRASIL." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/11060.
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This master degree s conclusion study is part of History Heritage and Cultural Heritage
Research Line of Professional Masters Course in Cultural Heritage of Universidade Federal
de Santa Maria. The purpose of this study was carrying out a photographic exhibition about
the military revolt that took place in Santa Maria city (RS) in November 1926, from research
conducted in Correio da Serra, Gaspar Martins, Diário do Interior and O Castilhista
newspapers, in photographs and several documents of that time in order to spread this local
history chapter. It was surveyed the collections of the Arquivo Histórico Municipal de Santa
Maria, the library of the Colégio Marista Santa Maria (Biblioteca Irmão Daniel), Casa de
Memória Edmundo Cardoso, Centro Histórico Coronel Pillar, Memorial Mallet and the
Museu Educativo Gama d Eça. The revolt began with the uprising of two Brazilian Army
barracks, the 5º Regimento de Artilharia Montada (current 3º Grupo de Artilharia de
Campanha Autopropulsado Regimento Mallet) and the 7º Regimento de Infantaria (current
7º Batalhão de Infantaria Blindado Regimento Gomes Carneiro), which attacked the 1º
Regimento de Cavalaria of the Brigada Militar (current 1º Regimento de Polícia Montada
Regimento Coronel Pillar) forces, resulting in a bombardment over downtown area. The battle
ended with the withdrawal of the rebellious military, who left Santa Maria due to the Brigada
Militar resistance. We worked to show the military revolt events from the Santa Maria´s press
viewpoint of that time, alongside the focus of books describing the fact. The exhibition was
created to be displayed on a mobile way in Santa Maria town. According to the placed
methodology, the research is applied, exploratory, bibliographic and documentary. The
dissertation reports as newspapers, pictures and other surveyed documents relate to Santa-
Mariense cultural heritage, reproduces the information collected in these sources and
contextualizes the military revolt of 1926 history, showing that this was part of the tenentista
movement of the 1920s.Este trabalho de conclusão de mestrado faz parte da Linha de Pesquisa Patrimônio História e Patrimônio Cultural do Mestrado Profissional em Patrimônio Cultural da Universidade Federal de Santa Maria. O objetivo deste trabalho foi realizar uma exposição fotográfica sobre a revolta militar ocorrida na cidade de Santa Maria (RS) em novembro de 1926, a partir de pesquisa realizada nos jornais Correio da Serra, Gaspar Martins, Diário do Interior e O Castilhista, em fotografias e documentos diversos daquela época, a fim de divulgar ao público esse capítulo da história local. Foram pesquisados os acervos do Arquivo Histórico Municipal de Santa Maria, da biblioteca do Colégio Marista Santa Maria (Biblioteca Irmão Daniel), da Casa de Memória Edmundo Cardoso, do Centro Histórico Coronel Pillar, do Memorial Mallet e do Museu Educativo Gama d Eça. A revolta começou com a sublevação de dois quartéis do Exército Brasileiro, o 5º Regimento de Artilharia Montada (atual 3º Grupo de Artilharia de Campanha Autopropulsado Regimento Mallet) e o 7º Regimento de Infantaria (atual 7º Batalhão de Infantaria Blindado Regimento Gomes Carneiro), os quais atacaram as forças do 1º Regimento de Cavalaria da Brigada Militar (atual 1º Regimento de Polícia Montada Regimento Coronel Pillar), resultando num bombardeio sobre a região central da cidade. A batalha terminou com a retirada dos militares rebelados, que saíram de Santa Maria devido à resistência da Brigada Militar. Trabalhamos para mostrar os acontecimentos da revolta militar a partir do enfoque da imprensa de Santa Maria daquela época, paralelamente ao enfoque dos livros que descrevem o fato. A exposição foi criada para ser exibida de forma itinerante na própria cidade de Santa Maria. De acordo com a metodologia empregada, a pesquisa é aplicada, exploratória, bibliográfica e documental. A dissertação informa como os jornais, as fotografias e outros documentos pesquisados relacionam-se com o patrimônio cultural santamariense, reproduz as informações coletadas nessas fontes e contextualiza a história da revolta militar de 1926, mostrando que esta fez parte do movimento tenentista da década de 1920.
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Gama, Kalila Catharine Oliveira. "De que povo ? a pra?a? Lambe-lambes, est?dios e discursos urbanizadores em Feira de Santana (1970-1985)." Universidade Estadual de Feira de Santana, 2017. http://localhost:8080/tede/handle/tede/599.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
The dissertation has as object to analyze the occupation and appropriation of the "Bernardino Bahia Square" as a space for the construction of the professional work of the lambe-lambes photographers, undertaken in the early 1970's in the city of Feira de Santana. The intention is to understand the tensions born of the occupation of the square by the photographers lambe-lambes. For that, an analysis of the conjuncture that precedes the temporal cut - 1970-1985 is presented. The kickback is fundamental for the understanding about the rise of the county Feirense as a road junction and commercial warehouse, its insertion in the policy of decentralization of industries through fiscal incentives and the implications in the processes of urbanization and migration registered in the city. Throughout the text, will also be studied the representations forged by the newspapers Folha do Norte and Feira Hoje on the county Feirense, in agreement with the interests of certain groups. In addition, it seeks to understand how the determination of an ordering in the commercial center was carried out, by means of norms, like the Tax Code of 1963 and the Code of Postures of 1967. From the oral testimonies of three lambe-lambes photographers, it was possible to draw a scenario of the daily toil of these professionals, detailing the journey and the discipline of work, the photographic technique and the internal organization of the group. Finally, were examined the motivations for traveling photographers to occupy the square cited, the mechanisms used for the appropriation of the site and the tactics for maintenance in the public space; as well as the repercussions of this dynamic in the local press and in the municipal legislature, without neglecting the actions undertaken by the Municipal Government to alleviate conflicts.
A disserta??o tem como objeto analisar a ocupa??o e a apropria??o da pra?a Bernardino Bahia enquanto espa?o de constru??o do fazer profissional dos fot?grafos lambe-lambes, empreendida no in?cio da d?cada de 1970, na cidade de Feira de Santana. A inten??o ? compreender as tens?es nascidas da ocupa??o da pra?a pelos fot?grafos lambe-lambes. Para tanto, apresenta-se uma an?lise da conjuntura que precede o recorte temporal ? 1970-1985. O recuo ? fundamental para o entendimento acerca da ascens?o do munic?pio feirense como entroncamento rodovi?rio e entreposto comercial, sua inser??o na pol?tica de descentraliza??o das ind?strias via incentivos fiscais e as implica??es nos processos de urbaniza??o e de migra??o registrados na urbe. Ao longo do texto, ser?o estudadas, tamb?m, as representa??es forjadas pelos jornais Folha do Norte e Feira Hoje sobre o munic?pio feirense, em conson?ncia com os interesses de determinados grupos. Ademais, busca-se entender como se desenrolou a determina??o de um ordenamento no centro comercial, por meio de normas, a exemplo do C?digo Tribut?rio de 1963 e o C?digo de Posturas de 1967. A partir dos depoimentos orais de tr?s fot?grafos lambe-lambes, foi poss?vel tra?ar um cen?rio da labuta di?ria desses profissionais, detalhando a jornada e a disciplina de trabalho, a t?cnica fotogr?fica e a organiza??o interna do grupo. Por fim, foram examinadas as motiva??es pelas quais os fot?grafos ambulantes ocuparam a pra?a citada, os mecanismos utilizados para a apropria??o do local e as t?ticas acionadas para a manuten??o no espa?o p?blico; bem como as repercuss?es dessa din?mica na imprensa feirense e no Legislativo municipal, sem deixar de atentar para as a??es empreendidas pela Prefeitura Municipal visando amenizar os conflitos.
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Freire, Luciana Bueno de Alvarenga. "Belkiss Spenzieri: uma fotobiografia (1928-2005)." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8481.
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This study deals with the narrative of the life history of the Goianist musician Belkiss Spenzieri, through the analysis of hers photographs, correlating them with others photos of the same period. Belkiss was born in the city of Goiás-GO in 1928 and she was raised and encouraged by her grandmother, Nhanhá do Couto, in the field of music, she moved to Goiania-GO in 1940, when she gave her first public recital at the age of 12. In 1942, her grandmother and she went to Rio de Janeiro-RJ, so that Belkiss could study at the School of Music of the University of Brazil. In 1945, after graduating and the death of her grandmother, the musician returned to Goiânia to create a Conservatory of Music in Goiás, as it had always been Nhanha's dream. Thus, she married in 1946, had two children and, in 1956, created the Conservatory of Music, but the federal recognition of it only occurred in 1959, with the authorization of Juscelino Kubitschek. Belkiss was acclaimed director of the conservatory from its foundation and after its integration with the UFG, in 1960. And so she continued her career as a teacher and as a musician, always researching Brazilian music and spreading the national composers. She died in 2005, aged 77, in the city of Goiânia. Throughout her life she was photographed, in Brazil and abroad. Therefore, the parallel with this photobiography was with the photographers who photographed her, and the way of doing portraiture in this period of her existence. Several theorists were used but, during the analysis of the photographs, the methodology of Arthur Freitas (2004) was highlighted, under the biases of the social, formal and semantic perspectives proposed by him.
Este trabalho trata sobre a narrativa da história de vida da musicista goiana Belkiss Spenzieri, através da análise de suas fotografias, correlacionando-as com outras do mesmo período. Belkiss nasceu na Cidade de Goiás-GO em 1928 e, criada e incentivada pela sua avó, Nhanhá do Couto, no campo da música, mudou-se para Goiânia-GO em 1940, quando deu seu primeiro recital em público, com apenas 12 anos. Em 1942, ela e sua avó foram para o Rio de Janeiro-RJ, a fim de que Belkiss pudesse estudar na Escola de Música da Universidade do Brasil. Em 1945, depois de se formar e do falecimento de sua avó, a musicista voltou para Goiânia para criar um Conservatório de Música em Goiás, como sempre fora o sonho de Nhanhá. Assim, ela casou-se em 1946, teve dois filhos e, em 1956, criou o Conservatório de Música, mas o reconhecimento federal deste só se deu em 1959, com a autorização de Juscelino Kubitschek. Belkiss foi aclamada diretora do conservatório desde a sua fundação, até depois da sua integração com a UFG, ocorrida em 1960. E, assim, seguiu em sua carreira de professora e musicista, sempre pesquisando sobre a música brasileira e divulgando os compositores nacionais. Morreu em 2005, com 77 anos de idade, na cidade de Goiânia. Durante toda a sua vida, foi muito fotografada, aqui e no exterior. Por isso, o paralelo com esta fotobiografia se deu com a os fotógrafos que a fotografaram, e o modo de fazer retrato neste período da sua existência. Vários teóricos foram utilizados mas, durante a análise das fotografias, recebeu destaque a metodologia de Arthur Freitas (2004), sob os vieses das perspectivas social, formal e semântica, por ele propostas.
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Freire, Carlos Renato AraÃjo. "Quebra-quebra de 1942: um dia para lembrar." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19865.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiornÃo hÃ
Este trabalho analisa a HistÃria da MemÃria do Quebra-quebra do dia 18 de agosto de 1942 a partir do quadragÃsimo e quinquagÃsimo aniversÃrio da Segunda Guerra Mundial. Malgrado a importÃncia retroativa que poderÃamos atribuir ao evento, como um dos fatores responsÃveis por pressionar o Governo de GetÃlio Vargas a declarar guerra aos paÃses do Eixo, apenas a partir da dÃcada de 1980 que se intensificam as erupÃÃes de investimentos de memÃria que transformam as depredaÃÃes a estabelecimentos comercias que tinham alguma relaÃÃo com os paÃses do Eixo (Alemanha, ItÃlia e JapÃo) em um acontecimento atravÃs do seu compartilhamento em matÃrias de jornais, livros de memÃrias, fotografias, restauraÃÃo e construÃÃo de monumentos. Analisando especificamente os investimentos de memÃria de Thomaz Pompeu Gomes de Matos, Alberto Santiago Galeno, StÃnio Azevedo, Geraldo Nobre e as memÃrias de algumas famÃlias dos descendentes dos imigrantes prejudicados pretendemos discutir os usos do passado no presente propondo questionamentos sobre as relaÃÃes entre memÃria individual e memÃria coletiva, a interaÃÃo entre o passado do acontecimento e o presente das enunciaÃÃes e o imbricamento entre as temporalidades no processo de formalizaÃÃo das narrativas desse dia. O acontecimento à encarado aqui nÃo como uma superfÃcie da conjuntura, mas sim como uma forma de observar os imbricamentos de possibilidades no presente do pretÃrito, nÃo como um dado imutÃvel, mas sim como indeterminado, incerto e aberto a novas configuraÃÃes de sentido e significado.
This text analyzes the History of Memory of the clash referred to as âQuebra-quebraâ that took place on August 18th 1942 from the fortieth and fiftieth anniversary of World War II. Despite the retrospective importance that we assign to the event as one of the factors responsible for pressuring the government of GetÃlio Vargas to declare war on the Axis powers, only from the 1980s are there intensifying eruptions of investments in memory that transform the depredations of the commercial establishments that had some relation to the Axis (Germany, Italy and Japan) in an event through its share in newspaper reports, memoirs, photographs, restoration and construction of monuments. Specifically analyzing memory investments of Thomaz Pompeu Gomes de Matos, Alberto Santiago Galeno, StÃnio Azevedo, Geraldo Nobre and memories of some families of descendants of harmed immigrants, it intends to discuss the uses of the past in the present proposing questions about the relationships between individual memory and collective memory, the interaction between the past event and the present of utterances and the interweaving of the temporalities in the formalization of narratives that day processes. The event is seen here not as a surface environment, but rather as a way to observe the interweaving of possibilities in the present tense, not as an immutable data but as indefinite, uncertain and open to new configurations of meaning and significance.
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Strohschoen, Cristina. "Quando o patrimônio é uma imagem que quebra: políticas de acesso e preservação de coleções fotográficas de negativos de vidro." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/10988.
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Brazilian cultural heritage is dispersed in archives, museums and libraries, all memory
centers with a common focus: to collect conservation and make society memory available to
its users and researchers. In archives the medium are many, manuscript documents,
audiovisual, sound and bibliographical materials. The present study concentrated to
investigate a specific documental medium, the glass negative. Invented in 1848, the glass
negative was the main documental medium for photographic images until 1888 when the
flexible negative film was invented. Therefore, visual information sources about the Brazilian
history from the second half of the XIX Century still exists because at that time the existing
medium for image sensitization was the glass plate. It was in this medium, that images from
the end of Brazil Empire and early Republic of Brazil were produced, using heavy wood
photography cameras, the so called Lambe-lambe . The importance of this documental
medium glass negative as a research source for Brazilian and World history was proven
after incursions in literature and research in Brazilian photographic heaps. It was found that
photography is a powerful mean of visual communication besides its value as information
source and documental heritage. This premise imposes the cultural institutions that custody
these documental type the need to define specific policies to them. Under the light of
conservation, access and diffusion which constitute the theoretical reference and
chronologically determining the invention of the different photographic processes, this study
analyzed conservation and access policies that are adopted by photographic documentation
centers that custody glass negative heaps, based in the policies from two cultural institutions
with similar heap, objectives and institutional goals but, with climatic differences due to its
geographical location, the South and Northeast regions of Brazil. It was ratified the
importance of the archivist functions: preservation and preventive conservation to the long
term duration of documents; the access, the need to create research instruments that
guarantee access to the images content and, cultural editorial and educative diffusion.
Involving all this, there is the need of continuous planning programs the policies. As a
result of this study and to meet the requirements of a Vocational Masters Program, we
produced a Guide with the adequate procedures to preserve photographic documents,
especially in the glass negative medium, that aims at orientating archivists, conservators,
historians, librarians, museum experts and other professionals about the correct procedures
for preventive conservation, preservation and image restoration of information kept in this
documental medium.Parte do patrimônio cultural brasileiro encontra-se disperso em arquivos, museus e bibliotecas, todos centros de memória com um objetivo comum: coletar, preservar e colocar a memória da sociedade à disposição de usuários e pesquisadores. Nos arquivos, os suportes materiais são os mais diversos: documentos manuscritos, audiovisuais, sonoros, bibliográficos. Este estudo deteve-se a investigar, dentro do universo dos acervos fotográficos, um suporte documental específico o negativo de vidro. Inventado em 1848, o negativo de vidro foi o principal suporte documental das imagens fotográficas no mundo até 1888, quando foi inventado o negativo em película flexível. Portanto, as fontes visuais de informação sobre a história brasileira da segunda metade do século XIX existem porque neste período o suporte existente para a sensibilização da imagem era a chapa de vidro. Foi nela que as imagens do final do Brasil Império e do início do Brasil República foram produzidas, por pesadas câmeras fotográficas de madeira - as famosas lambe-lambe. A importância do suporte documental negativo de vidro como fonte de pesquisa sobre a história mundial e brasileira foi comprovada mediante incursões na literatura e investigações em acervos fotográficos brasileiros. Verificou-se que a fotografia constitui-se em poderoso veículo de comunicação visual, além de seu valor como fonte de informação e como patrimônio documental. Esta premissa, por sua vez, impõe as instituições culturais custodiadoras deste tipo documental a necessidade de definir políticas específicas para as mesmas. À luz dos conceitos sobre preservação, acesso e difusão, os quais se constituíram nos referenciais teóricos; e situando cronologicamente a invenção dos diversos processos fotográficos, esse estudo analisou políticas de preservação e acesso adotadas por centros de documentação fotográfica detentoras de negativos de vidro com base naquelas identificadas em duas instituições culturais com semelhanças nos acervos preservados e nos objetivos e metas institucionais, porém, com diferenças climáticas devido a sua localização geográfica - nas regiões Sul e Nordeste do Brasil. Ratificou-se a importância das funções arquivísticas: a preservação e conservação preventiva para aumento da longevidade dos documentos; o acesso - a necessidade de elaboração de instrumentos de pesquisa para garantir o alcance ao conteúdo das imagens; e a difusão cultural, editorial e educativa. Permeando tudo isto, a necessidade da existência de programas como planejamentos contínuos as políticas. Como fruto deste estudo foi produzido o produto final exigido em mestrados profissionalizantes - um manual contendo os procedimentos adequados para a preservação do documento fotografia, especificamente no suporte documental negativo de vidro, que pretende orientar arquivistas, conservadores, historiadores, bibliotecários, museólogos e outros profissionais, nas ações pertinentes a conservação preventiva, preservação e restauração de imagens sobre este suporte documental.
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Rodrigues, Neide de Souza Almeida. "FOTOGRAFIA, GÊNERO E CIDADE: BELA VISTA DE GOIÁS SOB AS LENTES DE ANTÔNIO FARIA." Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/3307.
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Previous issue date: 2013-03-13In this dissertation, our goal was to use the photographs of Antonio Faria (1914-2009) to analyze the contribution of men and women in the construction and development of the town of Bela Vista de Goias, in the period in which the photographer worked actively and publicly, between the years 1930 to 1996. We assume that society functioned as belavistense a complex network of social genre producer / breeder of results related to male / female, effected in bodies, behaviors and socio-cultural relations. For this, we support the theorists who have authority, in discussions about the concept of photography, genre, city, and memory representation. The study was developed primarily through analysis of photographs, documents, bibliographical material and interviews with people who were involved directly or indirectly in many aspects surveyed. Thus, one can understand the contribution of photography as fundamental support for the study and understanding of active participation of men and women in Bela Vista, in the period proposed, and how the images are meant to preserve the memory and reveal the representations in these a time and place.
Na presente dissertação, nosso objetivo foi o de utilizar as fotografias de Antônio Faria (1914-2009) para analisar a contribuição de homens e mulheres na construção e desenvolvimento da cidade de Bela Vista de Goiás, no período em que o fotógrafo trabalhou, ativa e publicamente, entre os anos de 1930 a 1996. Partimos do pressuposto de que a sociedade belavistense funcionou como uma complexa rede social de gênero produtora/reprodutora de resultados relacionados ao masculino/feminino, efetivados em corpos, comportamentos e relações socioculturais. Para isso, buscamos suporte nos teóricos que têm autoridade, nas discussões acerca do conceito de fotografia, gênero, cidade, memória e representação. O estudo desenvolveu-se, principalmente, através da análise das fotografias, documentos, material bibliográfico e entrevistas com pessoas que estiveram envolvidas de forma direta ou indireta, nos diversos aspectos pesquisados. Sendo assim, compreende-se a contribuição da fotografia como suporte fundamental para o estudo e entendimento da participação ativa de homens e mulheres em Bela Vista, no período proposto, e como as imagens têm a função de preservar a memória e revelar as representações destes em um tempo e lugar.
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Hayes, Emily Jane Eleanor Rhydderch. "Geographical projections : lantern-slides and the making of geographical knowledge at the Royal Geographical Society c.1885-1924." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/23096.
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This thesis is about the mobilities of geographical knowledge in the material form of lantern-slides and the forces exerted on these by technological and human factors. Owing to its concern with matter, human- and non-human, and its circulation, the thesis addresses the physics of geographical knowledge. The chapters below investigate the Royal Geographical Society’s (RGS) ongoing tradition of telling stories of science and exploration through words, objects and pictures in the final quarter of the nineteenth century and as geography professionalized and geographical science developed. These processes occurred within the context of a plethora of technological innovations, including the combination of the older medium of the magic lantern and photographic lantern-slides, integral to a wide range of entertainment, scientific and educational performances across Britain. In 1886 the RGS began to engage with the magic lantern. Via this technology and the interactive lecture performances in which it featured, I argue that the Society embraced the medium of photography, thereby engendering transformations in methods of knowledge making and to the RGS collections. I study how these transformations influenced the discipline of Geography as it was re-established at the University of Oxford in 1887. I demonstrate the evolution of the RGS’s Evening, Technical and Young Persons’ lectures, their contingent lantern-slide practices and, consequently, how these moulded, and were moulded by, the RGS Fellowship between c. 1885 and 1924. The chapters below explore how these innovations in visual technologies and practices arose, how they circulated knowledge and their effect on geographies of geographical knowledge making. By harnessing the lantern the RGS attracted an expanding and diversifying audience demographic. The thesis demonstrates the interactive nature of RGS lantern-slide lectures and audiences' important role in shaping the Society’s practices and geographical knowledge. The chapters below argue that it was via the use of the lantern that geography was disseminated to new places. The thesis therefore brings additional perspectives and dimensions to understandings of the circulation of geographical knowledge.
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Santos, Jessica Leme. "OBRA SIMBÓLICA DO BRASIL NOVO: REPRESENTAÇÕES FOTOGRÁFICAS DE GETÚLIO VARGAS NA “TERRA DOS PINHEIRAIS” EM 1944." UNIVERSIDADE ESTADUAL DE PONTA GROSSA, 2017. http://tede2.uepg.br/jspui/handle/prefix/395.
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Previous issue date: 2017-02-24The New State, that includes the years of (1937-1945), was known as the longest period of influence of varguist political propaganda. With the creation of DIP – Departamento de Imprensa e Propaganda (Department of Press and Propaganda), the divulgation and impression of Getúlio Vargas image has been systemized. About this, this research has as objective to analyze the photographical images of President Getúlio Vargas during his visit in Paraná state in 1944. These photographical images are inserted in a Commemorative Album of Visit of President Vargas, 1944, a material used as politic propaganda. Also, it sought to analyze the discourses during the publication, which has approached various themes as the 1930 Revolution, Paranism, Paraná industrialization in the 30’s and 40’s, as well government aspects, for example, immigration/reoccupation of Paraná’s north, the eugenic theory, etc. To analyze the images, it applies the using of iconography/iconology, intending to dismount the photographic sign. To discuss about Vargas representation, it uses the representation concepts of Chartier, where intends to understand the mechanisms used to construct the president’s image.
O Estado Novo que compreende os anos de (1937-1945), ficou marcado como o período de maior influência da propaganda política varguista. Com a criação do DIP- Departamento de Imprensa e Propaganda sistematizou-se a divulgação e impressão da imagem de Getúlio Vargas. Diante disso essa pesquisa teve como objetivo analisar as imagens fotográficas do presidente Getúlio Vargas, durante a visita do mesmo ao estado do Paraná, no ano de 1944. Essas imagens fotográficas estão inseridas num Álbum Comemorativo da Visita do Presidente Vargas ao Paraná, 1944, material esse usado como propaganda política. Buscou-se analisar também os discursos inseridos no decorrer da publicação, os quais abordam diversos temas como, a Revolução de 1930, Paranismo, a industrialização do Paraná nos anos 30/40, como também aspectos da política governamental da época, por exemplo, imigração/reocupação do norte paranaense, a teoria eugênica entre outras. Para a análise das imagens aplica-se o uso da iconografia/iconologia, desmontando o signo fotográfico. Para a discussão acerca da representação do presidente Vargas, utiliza-se do conceito de representação de Chartier, onde quer se compreender os mecanismos usados para a construção da imagem do governante.
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Silva, Shirley. "A produção de daguerreótipos no Rio de Janeiro (1840-1850)." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19447.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Pontifícia Universidade Católica de São Paulo
This research aims to identify and to analyze the specificities of the production of daguerreotypes in Rio de Janeiro between 1840 and 1850. The daguerreotype was the first photographic process recognized and patented by the French government in August 1839. In Brazil, the abbot Louis Compte presented it in January 1840 in Rio de Janeiro city, with the attendance of the future emperor, d. Pedro II. To develop the research we have used as documents advertisements made by daguerreotypers in newspapers circulating at that time at the Brazilian Court and the manual for the production of daguerreotypes. From the information contained in the advertisements, we have established categories aiming to systematize the data, as follows: teachers, trade, frame, accessories, shapes, time, hours, color, detail and innovations. In this manner, it was possible to compare general information concerning the daguerreotypes production and the particularities presented by the photographers, connecting data and making it possible to map the process of knowledge from this period
O objetivo dessa pesquisa é identificar e analisar as especificidades da produção de daguerreótipos no rio de Janeiro entre 1840-1850. O daguerreótipo foi o primeiro processo fotográfico reconhecido e patenteado pelo governo francês em agosto de 1839. No Brasil, foi apresentado em janeiro de 1840, pelo abade Louis Compte na cidade do Rio de Janeiro na presença do futuro imperador d. Pedro II. Para realização dessa pesquisa, utilizamos como documento os anúncios dos daguerreotipistas nos jornais do período em circulação na corte e o manual de como produzir daguerreótipos. A partir das informações contidas nos anúncios estabelecemos categorias objetivando sistematizar os dados; são essas: professores, comércio, moldura, acessórios, formatos, tempo, horário, cor, detalhes e novidades. Dessa forma, foi possível comparar as informações gerais com relação a produção de daguerreótipos e as particularidades apresentadas pelos fotógrafos relacionando os dados e possibilitando mapear o processo de conhecimento nesse período
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Coelho, Henrique Pinto. "É FAVOR ME OLHAR COM CUIDADO : MULHERES E SUAS REPRESENTAÇÕES NAS FOTOGRAFIAS DE LUIZ PUCCI EM GOIÂNIA." Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/3317.
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Previous issue date: 2013-06-27This dissertation reflects and comments on a set of black and white and hand colored photographs of women, produced by Luiz Pucci in Goiânia-GO, in the period of 1945 to 1955. These photographs are kept in the Goiás Museum of Image and Sound. The dissertation especially analyzes gender representations in these photographs to see if the women in these images reveal new habits and ways of being, reproducing and reinforcing dominant gender relations, their inequalities and their representations. The photographs of women are important sources for the study of these gender representations.
A presente dissertação tece considerações sobre um conjunto de fotografias de mulheres, em branco e preto e coloridas à mão, produzidas por Luiz Pucci em Goiânia-GO, no período de 1945 a 1955. Estas fotografias estão depositadas no Museu da Imagem e do Som de Goiás. Analisa, em especial, as representações de gênero nessas fotografias para constatar se nestas imagens as mulheres revelam novos hábitos e modos de ser, reproduzindo e fortalecendo as relações de gênero dominantes, suas desigualdades e suas representações. As fotografias de mulheres são fontes importantes para o estudo dessas representações de gênero.
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Redondo, i. Arolas Mar. "Llegat i vigència de les aportacions de l'exposició "The Family of Man" en la representació fotogràfica de la identitat." Doctoral thesis, Universitat de Barcelona, 2010. http://hdl.handle.net/10803/32049.
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La recerca que es presenta aborda la capacitat discursiva de la fotografia, delimitant uns usos concrets del mitjà fotogràfic i analitzant algunes exposicions que es qüestionen la fotografia que parla de l’home en relació amb el seu context social. És per aquest motiu que la investigació pren com a centre d’interès "The Family of Man", exposició fotogràfica de gran rellevància quant a la idea de projecte, quant al procés de gestió de les imatges, i quant a la recepció pública. Comissariada per Edward Steichen, es va inaugurar al Museu d'Art Modern de Nova York l’any 1955. Del seu estudi se’n conclou que es tracta d’un cas paradigmàtic de model expositiu fotogràfic que aglutinava molts dels aspectes que s’han debatut i es debaten encara al voltant de la fotografia, de l’art, i de llurs implicacions socials. En la recerca es circumscriuen els temes de reflexió més rellevants i s’observa com es presenten aquests en algunes exposicions o actituds artístiques de finals del segle XX, principis del XXI, les actituds reflexives i crítiques dels autors de les quals semblen revelar directament o indirecta, l’herència dels propòsits del fotògraf E. Steichen, artífex representatiu d’un corrent en la producció fotogràfica que procura conciliar l’art i la vida comuna. La revisió i l’anàlisi d’exhibicions perfilen el què ha canviat en la fotografia pel que fa a la percepció i representació de l’home i les seves relacions socials, i com aquests canvis s’han emmirallat en les diverses manifestacions artístiques contemporànies sobre l’home. Així mateix, el recorregut per les obres i el temps deixen paleses algunes de les modificacions que des dels anys cinquanta han esdevingut respecte a la concepció i comprensió de la imatge fotogràfica en el context de l’art.This research address the discursive capacity of photography, delimiting specific uses of the photographic medium and analyzing some exhibitions that question the photography that speaks about mankind in relation to its social context. It is for this reason that research takes as its focus of interest The Family of Man photographic exhibition of great relevance attending to the idea of the project, the management of the pictures, and in terms of public reception. Curated by Edward Steichen, was opened at the Museum of Modern Art in New York in 1955. Its study concludes that it is a paradigmatic case of model photography exhibition that brings together many of the issues being and discussed even now around the photography, art, and their social implications. The research reflects the highlights that are shown in some exhibitions and in several artistic attitudes of the late twentieth and twenty-first centuries, and also the critical and reflective attitudes of the authors which seem to reveal directly or indirectly, the inheritance of the purposes of the photographer E. Steichen, the most representative artifex of a photographic movement that tries to reconcile art and common daily life. The review and the analysis of exhibitions outline what has changed in the photography attending to the perception and representation of men and their social relationships, and how these changes have been mirrored in several contemporary art demonstrations about mankind. Likewise studying the works through the time reveals some of the changes that have occurred since the fifties about the conception and understanding of the photographic image in the context of art.
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Dahó, Marta 1969. "Del paisaje al territorio. Transiciones entre el giro espacial y el giro geográfico en las prácticas fotográficas (1963-2017)." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/667423.
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Las transformaciones que han experimentado las prácticas fotográficas dentro del ámbito artístico en relación con la dialéctica entre paisaje y territorio han sido extraordinariamente ricas y complejas en las últimas cinco décadas. La creciente expansión urbana e industrial, así como la agudización exponencial de los procesos de globalización económica han ido imponiendo formas de experimentar y comprender los territorios que, en rigor, no pueden ser analizadas sin atender a las importantes inflexiones que han tenido lugar en la cultura fotográfica a partir de los años sesenta del siglo pasado. No solo se produce entonces una transmutación que sobreviene con la legitimación museística de la fotografía y su institucionalización, sino que la propia práctica fotográfica atraviesa en ese periodo una transformación radical en relación con los procesos y modalidades de trabajo que desbordarán el marco editorial hasta entonces predominante. Paralelamente, muchos proyectos artísticos de base fotográfica que empiezan a realizarse a partir de esta época, auspiciados por la desmaterialización del arte conceptual, tampoco pueden circunscribirse de forma generalizada a un uso meramente documental del registro fotográfico. Junto al paulatino reconocimiento de nuevas prácticas fotográficas con un carácter marcadamente performático y procesual, a partir de los años setenta y ochenta también aparece la necesidad de replantear la idea de paisaje a través de dinámicas investigativas a largo plazo, muy especialmente enfocadas a la noción de territorio urbano y suburbano. Atendiendo a este contexto, la hipótesis principal que plantea esta investigación consiste en que algunas de las transiciones fundamentales que se han producido en las prácticas fotográficas —y que atañen tanto a la teorización del medio como a su institucionalización— están estrechamente vinculadas a estas revisiones de la idea de paisaje en relación con la noción de territorio. Con el propósito de analizar las nuevas líneas de fuga que diversos proyectos contribuyeron a abrir a partir de los años sesenta, así como su influencia en las décadas siguientes, la perspectiva panorámica de esta investigación permite también establecer una concomitancia entre la transformación de las prácticas fotográficas y el cambio de paradigma que supuso el giro espacial. Asimismo, la tesis aborda la reformulación de los desplazamientos derivados del giro espacial en una inflexión mucho más reciente, definida como giro geográfico.Over the past five decades, the transformations suffered by photographic practice in the art field in relation to the dialectics between landscape and territory have been extraordinarily rich and complex. The growing urban and industrial expansion and the exponential exacerbation of the processes of economic globalisation have been introducing ways of experimenting and understanding lands that, strictly speaking, cannot be analysed without bearing in mind the significant turning points that have been shaping photographic culture since the nineteen sixties. The museum's legitimation of photography and its institutionalisation during these years have led to the transmutation of the medium, and photographic practice itself has undergone radical transformations that transcend the editorial framework that was formerly prevalent. Parallel to this, many photography-based art projects that emerged during these years as a result of the dematerialisation of conceptual art also transcended purely documentary uses of the medium. Along with the gradual recognition of new photographic practices of a markedly performative and process nature, in the seventies and eighties appeared the need to reformulate the idea of landscape through long-term research dynamics focused specifically on the notion of urban and suburban territory. In the light of this context, the main hypothesis posed by this research is that some of the key transformations produced in photographic practices – that refer both to the theorisation and institutionalisation of the medium – are closely tied to these revisions of the idea of landscape in keeping with the notion of territory. In order to analyse the new vanishing points that a number of projects helped open up from the sixties onwards, and their influence over following decades, the panoramic perspective of this research also enables us to establish a concomitance between the transformation of photographic practices and the change of paradigm brought about by the spatial turn. Similarly, the thesis addresses the reformulation of the displacements derived from the spatial turn in a much more recent watershed defined as geographical turn.
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Costa, Eduardo Augusto. "'Brazil builds' e a construção de um moderno, na arquitetura." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281584.
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Orientador: Iara Lis Franco SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta dissertação de mestrado trata da compreensão de uma das mais importantes obras publicadas quanto a uma arquitetura moderna brasileira. Publicação realizada pelo MoMA/NY, em 1943, intitulada Brazil Builds e que, ainda, instaura uma matriz historiográfica para a arquitetura brasileira, vinculando a arquitetura tradicional com as realizações dos arquitetos modernos. Trata-se do dimensionamento da cultura nacional, na primeira metade do século XX, especificamente em relação à política cultural levada a cabo pelo ministro Gustavo Capanema, durante a República Nova e sua decorrência no campo da arquitetura. Finalmente, discute-se a construção de uma cultura visual da arquitetura a partir da uma série de documentos visuais realizados por diversos fotógrafos, dentre os quais se destaca G. E. Kidder Smith. Cultura visual que se pretendia como ordem da cultura nacional, neste caso, ordem de uma cultura arquitetônica moderna brasileira
Abstract: This Master's dissertation aims to understand one of the most important works published about a Brazilian modern architecture. Publication accomplished by the MoMA/NY, in 1943, entitled Brazil Builds it was responsible for the foundation of a historiographic matrix for the Brazilian architecture, vinculating the traditional architecture with the modern architects. It is also about the dimensioning of the national culture in the first half of the 20th century, specifically related to the national cultural politics taken by the minister Gustavo Capanema, during the New Republic and its influence to the architecture. Finally, it talks about the construction of a visual culture to the architecture by a series of visual documents done by photographers, amongst who G. E. Kidder Smith stands out. Visual culture that was intended as an order of the national culture, in this case, order of a Brazilian modern architectural culture
Mestrado
Politica, Memoria e Cidade
Mestre em História