Relevant bibliographies by topics / Photographyof the nude

Contents

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

Academic literature on the topic 'Photographyof the nude'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Photographyof the nude.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Photographyof the nude"

1

Rexer, Raisa. "Nana in the Nude: Zola and Early Nude Photography." Dix-Neuf 22, no. 1-2 (April 3, 2018): 73–97. http://dx.doi.org/10.1080/14787318.2018.1487172.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Mirabelli, Eugene. "Looking and Not Looking: Pornographic and Nude Photography." Grand Street 5, no. 1 (1985): 197. http://dx.doi.org/10.2307/25006825.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Müller, Helge, Frauke Knossalla, Lorenz Breuer, Johannes Kornhuber, and Lars Marquardt. "Nude Photography: Abuse, Obsession, Delusion, and Finally Depression." American Journal of Medicine 125, no. 8 (August 2012): e3. http://dx.doi.org/10.1016/j.amjmed.2012.01.031.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Rexer, Raisa. "Baudelaire’s bodies, or redressing the wrongs of nude photography." Word & Image 35, no. 2 (April 3, 2019): 126–40. http://dx.doi.org/10.1080/02666286.2018.1549428.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

McLellan, J. "Visual Dangers and Delights: Nude Photography in East Germany." Past & Present 205, no. 1 (November 1, 2009): 143–74. http://dx.doi.org/10.1093/pastj/gtp040.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Cole, Emily. "Photography magazines and cross-cultural encounters in postwar Japan, 1945-1955." Mutual Images Journal, no. 8 (June 20, 2020): 21–46. http://dx.doi.org/10.32926/2020.8.col.photo.

Full text
Abstract:
This article examines cross-cultural encounters between Japanese and western (European and American) photographers in the immediate postwar period (1945-1955), asking how these encounters influenced Japanese photographic trends. In addition, this article considers what photographic representations of western cultures reveal about postwar constructions of Japanese cultural identity. Building upon recent research framed by conceptions of photography as sites of cross-cultural encounter (see Melissa Miles & Kate Warren), this article argues that photography magazines provided space for consistent exchange between western and Japanese photographers through multiple platforms: interviews and round table discussions of photographic trends; articles on and photo series by western photographers; and images by both western and Japanese photographers depicting western cultural material and landscapes, such as photographs of western-style fashions, domestic space, and daily life in European and American cities. Such encounters directly influenced photographic trends in Japan. Features on European nude photographers popularised nude photography as an art form among Japanese photographers, and works contributed by the likes of Henri Cartier-Bresson, Robert Capa, and Robert Doisneau contributed to a rising interest in photographic humanism. Further, these encounters provided a conduit through which photographers and readers encountered western cultural material at a time when Japan underwent a cultural identity crisis brought on by the devastation of defeat and foreign Occupation. In this way, photography magazines simultaneously functioned as spaces that negotiated what exactly “Japanese culture” meant in Japan’s new postwar world.
APA, Harvard, Vancouver, ISO, and other styles
7

Howells, Christina. "Jean-Luc Nancy and La Peau des images." Body & Society 24, no. 1-2 (March 5, 2018): 166–74. http://dx.doi.org/10.1177/1357034x18760179.

Full text
Abstract:
This article considers Jean-Luc Nancy’s reflections on the nude in painting and photography in the light of his aesthetics, his philosophy of the body and soul, and some of his other writings on portraiture. It explores Nancy’s insistence on skin as the truth behind and beyond which no further meaning waits to be revealed: there are no hidden depths, no secret or sacred truths, nothing is concealed beneath the skin.
APA, Harvard, Vancouver, ISO, and other styles
8

Asen, Robert. "Appreciation and desire: The male nude in the photography of Robert Mapplethorpe." Text and Performance Quarterly 18, no. 1 (January 1998): 50–62. http://dx.doi.org/10.1080/10462939809366209.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Brooke, Stephen. "War and the Nude: The Photography of Bill Brandt in the 1940s." Journal of British Studies 45, no. 1 (January 2006): 118–38. http://dx.doi.org/10.1086/497058.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Charrier, Philip. "Nojima Yasuzō's primitivist eye: ‘Nude’ and ‘Natural’ in early Japanese art photography." Japanese Studies 26, no. 1 (May 2006): 47–68. http://dx.doi.org/10.1080/10371390600636208.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Photographyof the nude"

1

Radić, Xavier. "Queer reflections on Baron Wilhelm von Gloeden a creative reconsideration of pose, gaze and technique : this exegesis [thesis] is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Art and Design in the year 2004 /." Full thesis. Abstract, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Minks, Marlin. "Strips /." Online version of thesis, 1985. http://hdl.handle.net/1850/10111.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Camargo, Lucio Martins de 1968. "O nu e o olhar : uma iconologia do nu feminino na fotografia brasileira." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284320.

Full text
Abstract:
Orientador: Stephane Remy Georges Malysse
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T03:44:41Z (GMT). No. of bitstreams: 1 Camargo_LucioMartinsde_M.pdf: 2990532 bytes, checksum: 5d566a1de07ede0c47d4df38267485ae (MD5) Previous issue date: 2006
Resumo: O objeto da pesquisa é constituído de vinte e quatro fotografias selecionadas dentro da produção fotográfica de nus femininos no Brasil, a partir do estabelecimento de alguns critérios, tais como a nacionalidade de fotógrafos e modelos, o suporte de publicação e o grau de nudez, entre outros, com o objetivo de criar uma gramática dos signos presentes nessas imagens. Num primeiro momento, foi possível identificar alguns modos recorrentes de apresentação dessas imagens: o "nu editorial" e o "nu artístico", que são os principais modelos temáticos dos fotógrafos brasileiros e um terceiro modo, muito menos expressivo em termos numéricos, mas que apresenta imagens mais densas em termos de conteúdo e questionamento de padrões pré-estabelecidos que é o modo do ?nu como expressão?. As fotografias foram separadas em grupos menores, para atender a projetos analíticos diferenciados, conforme cada capítulo, e foi feita a opção metodológica de análise imanente das mesmas. Ao final é proposta uma forma de classificação da produção de fotografias de nus conforme o conteúdo e sua abordagem, como alternativa para a percepção aparentemente exclusiva de conteúdo erótico e abordagem comercial
Abstract: The object of the research is constituted of twenty-four photographs selected among the photographic output of female nudes in Brazil, from the establishment of some criteria, such as the nationality of photographers and models, the support of publication and the rank of bareness, between others, with the objective of creating a grammar of the present signs in those images. In a first moment, was possible to identify some recurring ways of presentation of those images: the "editorial nude" and the "artistic nude", that are the main thematic models of the Brazilian photographers and a third way, a lot less expressive in quantity, but which presents denser images considering content and questioning of pre-established standards which is "nude as expression". The photographs were separated in smaller groups, to attend an analytic differentiated project, according to each chapter, and the methodological option made was of immanent analysis. To sum up, the purpose was to classify photographs of nudes output according to the content and approach, as an alternative to the apparently exclusive perception of erotic content and commercial approach
Mestrado
Mestre em Multimeios
APA, Harvard, Vancouver, ISO, and other styles
4

Murphy, Alexandra Christina. "An exploration into the photo-transformation of the human form, through a research of its contemporary influential imagery and diversity within our culture." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002212.

Full text
Abstract:
The purpose of this study is to look at how the figure is imaged through the photographic medium today. Through this purpose I aim to explore the individual expression of the photographer in his photographic medium; the expression of the figure within the medium and the diverse practises of this medium in society - to build up an awareness and understanding of the diverse representations of the human form. The general aims of study are: 1 - to study how these three photographers choose to photograph the figure, through their technical, compositional and individual approach. 2 - to show how diverse the usage of the photographic figure is in the visual world. 3 - to expose an awareness of the photographic figure as transformation of an expression of self. 4 - to show the relationship between the photographer and the figure, the camera and the photographer, the camera and the figure, and the photographic figure and the viewer. 5 - to study my own photographic imagery in relation to the other imagery discussed. My research information was collected through: observations, discussions, literature and practical exploration. This study will attempt to draw conclusions, from its explorations, that will highlight the importance of the individual eye: that it is the individual eye that becomes the vehicle of transformation.
APA, Harvard, Vancouver, ISO, and other styles
5

Saggese, Antonio José. "Imaginando a mulher: Pin-up, da chérette à playmate." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-29012009-150456/.

Full text
Abstract:
Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações.
Analysis of the production of the female image as a commodity in modern age. The erotic imagery in the consumer society, in the graphic media from XIX to XX century. The technical image and its relation with the academic painting in the representation of the womens figure and the nude in the photography, cinema, illustration and cartoon. The pin-up, its origins and variations.
APA, Harvard, Vancouver, ISO, and other styles
6

Di, Certo Alice. "The Unconventional Photographic Self-Portraits of John Coplans, Carla Williams, and Laura Aguilar." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/4.

Full text
Abstract:
Laura Aguilar, John Coplans, and Carla Williams explore, through photographic self-portraiture, the representation of unconventional bodies. Even though the images produced by these artists are quite different in style, they all reflect an interest in a representation of the nude human body that challenges the traditional concepts of beauty so prevalent in a Western society obsessed with physical perfection. Even though the three artists produced their photographic self-portraits at roughly the same time, using the traditional gelatin silver process and responding to standards of classical beauty, their divergent life experiences, education, and social backgrounds have led them to question an almost universal vision of the perfect body from a broad spectrum of perspectives.
APA, Harvard, Vancouver, ISO, and other styles
7

Chassin, de Kergommeaux C. Danielle. "Autofictional practices : self-fashioning in Diana Thorneycroft's self-portraits." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82695.

Full text
Abstract:
This thesis explores autobiographical practices and their relationship to autofiction, by focusing on practices of identity construction and artistic performance, as well as identity construction through performance. Emphasis is given to the ways gender and sexuality enter into, and shape, these practices by examining, in particular, the way they are expressed in Diana Thorneycroft's photographic performances. Chapter 1 discusses the history and key debates in autobiography theory, the ways gender has been introduced into the analysis of autobiography, and non-literary forms of autobiography. Chapter 1 also briefly discusses the (Western) history of art by women. Chapter 2 examines Thorneycroft's oeuvre and selected responses to it. Chapter 3 presents an analysis of autofictional practices through an examination of Thorneycroft's photographic self-portraits, thereby questioning the distinctions between autobiography and autofiction and suggesting that there is considerable overlap in their definition. The Conclusion briefly discusses agency in relation to autofictional (self-making) practices.
APA, Harvard, Vancouver, ISO, and other styles
8

Lager, Sarah Alexandra. "Le nu métamorphosé." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010637.

Full text
Abstract:
La métamorphose envisagée comme principe révélateur du nu laisse apparaître la réalité ambiguë de son existence plastique, la situant dans un entre-deux permanent oscillant entre accès et détournement, monstration et effacement. Corps photographique ou pictural, il devient signe d’une trace, d’une sensation par son incorporation au sein de livres photographiques. Ces recueils intimistes, dévoilant les identités multiples du corps féminin, proposent une intensification du désir par la mise en suspens d’une étreinte métaphorique. Lié à des récits mythologiques, poétiques et artistiques, le nu métamorphosé offre une entrée particulière où la mise en doute de son aspect présente sa suspension dans une immensité le dépassant. Etendu, morcelé, établit dans toute sa fragilité, il compose tout autant de paysages à arpenter qu’à contempler, où le toucher répond à l’excitation visuelle. L’infime apparence du corps sous-tend la peau, transperce le regard en se déployant dans un érotisme éblouissant. Par l’inscription de cette surface-peau, le nu métamorphosé est cette forme en dissolution qui survient dans un éclatement du corps et propose une véritable géographie épidermique, qui s’articule entre révélation de l’intimité de l’être et pluralité des sensations
Transformation considered as a revealing principle of the nude shows the ambiguous reality of its plastic existence, putting it an everlasting in-between place that wavers between access and diversion, showing and fading. Photographic or pictorial body, it becomes the sign of an impression, a feeling by its incorporation into photography books. These intimist collections, revealing the numerous identities of the feminine body, offer an intensification of the desire by having a figurative embrace to await. Being linked to mythological, poetical or artistic tales, the transformed nude presents a peculiar entry where questioning its aspect displays its suspension in a vastness that goes beyond it. Stetched, broken up, fully settled in its frailty, it forms landscapes to be stridden across just as well as gazed upon, where the sense of touch responds to the visual excitement. The minimal appearance of the body underlines the skin, enhances its grain, enshrouds it and gives life to the unspeakable. Burning, biting, the picture and especially one of the skin, pierces through the glance by unfolding in a dazzling eroticism. By the inscription on this skin-surface, the transformed nude is this form in dissolution which occurs thanks to the breaking of the body and which presents a real epidermal geography that is made of a mix between the disclosure of the intimacy of the self and the multitude of feelings
APA, Harvard, Vancouver, ISO, and other styles
9

Schanding, Desireé Rose. "The ephemeral form and objects of inspection /." Online version of thesis, 2008. http://hdl.handle.net/1850/10828.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Blin, Sandy. "La série des Distorsions de 1933 : Une parenthèse dans l’œuvre d’André Kertész ?" Thesis, Saint-Etienne, 2012. http://www.theses.fr/2012STET2160.

Full text
Abstract:
Moins connues que Chez Mondrian, ou d’autres tirages devenus célèbres, les Distorsions de 1933 peuvent apparaître comme une série d’importance mineure dans l’œuvre d’André Kertész. La série de photographies qui la composent, vaste par le nombre, donne à voir des déclinaisons de nu qui n’ont plus rien d’académique, dans le traitement qu’en donne le photographe. Les corps, déformés grâce à un miroir courbe, surprennent de par leur modernité et leur caractère d’étrangeté, au regard du reste de la production de l’auteur. Constitue-t-elle pour autant une « parenthèse » dans son œuvre ? Il convient pour y répondre de s’interroger sur le contexte d’apparition de ces photographies et les raisons de leur création. Pour ce faire, une évaluation des composantes plastiques de chacune des images s’avère incontournable, avant que d’établir des liens et correspondances avec d’autres œuvres du photographe. L’angle choisi, qui favorise le rapport direct aux images en les plaçant au centre de la recherche, s’intéresse à la mise en œuvre des Distorsions à l’aune de la commande qui en suscita l’objectivation, tout en dévoilant comment ce cadre spécifique fut outrepassé. Le dispositif complexe employé pour la prise de vue est alors questionné, dans l’intention de mesurer l’importance et le rôle du miroir dans le dévoiement de l’image. A ce moment sont abordées, par le biais d’analyses à la fois formelles et esthétiques, les diverses typologies de corps, et leur rapport à l’espace dans l’image. Ce qui aboutit enfin à une vision d’ensemble, permettant de replacer ce corpus dans l’œuvre entier de Kertész, et de dégager les parentés intentionnelles dans sa logique de création
Less known than Chez Mondrian, or other famous prints, the Distortions of 1933 may appear as a series of minor importance in André Kertész’ work. The series of photographs, wide ranging in numbers, lets us see versions of nude, whose have nothing to do with academic, in the handling given by the photographer. Bodies, distorted by a curved mirror, surprising in their modernity and their strangeness, compared with the rest of the author production. Does it make up a "parenthesis" in his work? To respond to this question, we should wonder about the developing context of these photographs and also the reasons of their creation. An evaluation of visual aspects of each image is necessary, before establishing links and connections with other works made by the photographer. The angle chosen, which favors the direct images by placing them in the center of research focuses on the implementation of Distortions in the light of the order in which aroused objectification, while revealing how this specific framework was exceeded. The complex device used for the shooting is asked then, with the intention of measuring the importance and role of the mirror in the image’s corruption. At this time are addressed through analysis of both formal and aesthetic, the various types of bodies, and their relationship to space in the image. This leads finally to a vision, to put this body in the whole work of Kertész, and to identify the intentional similarities in his creation logic
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Photographyof the nude"

1

Baetens, Pascal. Nude Photography. London: Dorling Kindersley Limited, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

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

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Trampe, Stan. Black & white nude photography. Buffalo, N.Y: Amherst Media, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Richards, Ruth. Nude photography, pornography or art?. London: LCP, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Pinkard, Bruce. The nude: Complete photography course. Rochester, NY: Silver Pixel Press, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

The naked and the nude: A history of nude photography. London: Weidenfeld & Nicolson, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Lewinski, Jorge. The naked and the nude: A history of nude photography. London: Book Club Associates, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Mastering digital nude photography: The serious photographer's guide to high-quality digital nude photography. Boston: Thomson Course Technology, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

The male nude in contemporary photography. Philadelphia: Temple University Press, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Photographyof the nude"

1

Wilson, Emma. "Agnès Varda." In The Reclining Nude, 39–102. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620245.003.0003.

Full text
Abstract:
Agnès Varda studied art history and photography, and the influence of the visual arts in her filmmaking has long been remarked. This discussion is the first to close in on the figure of the reclining nude which appears in her work in the form of tableaux vivants from the early film, L’Opéra Mouffe, and returns extensively in her portrait film Jane B. par Agnès V. In this film, together with cinematographer Nurith Aviv, Varda creates an cinematic reclining nude in a very slow, sensual pan across the prone naked body of Jane Birkin, from her feet to her smiling face. Here, and in another film from the 1980s, Documenteur, Varda explores reclining figures as part of her filmic experiments with emotion and rêverie, the reclining figure drawing and expressing feelings of erotic pleasure, repose, delay, melancholy, and depression. Her interest in still visual precedents in her work coalesces with her career-long feminist attention to states of female feeling and being.
APA, Harvard, Vancouver, ISO, and other styles
2

"4. Braquehais and the Photographic Nude." In Industrial Madness: Commercial Photography in Paris, 1848–1871. Yale University Press, 1994. http://dx.doi.org/10.37862/aaeportal.00182.010.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

BENJAMIN, L. "Undressing Fine ArtApproaches to the Fine Art Nude in Photography." In The Naked and the Lens, 16–35. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81159-8.00007-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lake, Jessica. "Introduction." In The Face That Launched a Thousand Lawsuits. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300214222.003.0001.

Full text
Abstract:
In 2015 Lastonia Leviston successfully sued rapper ’50 Cent for breach of privacy after he uploaded a sex tape of her without consent. She relied upon statutory laws forged in 1903 in the wake of a case brought by young Abigail Roberson to prevent the use of her pretty face in advertisements. This chapter introduces a new interdisciplinary history of the evolution of privacy law that places the legal activism of individual women front and center. The invention of a legal ‘right to privacy’ in the United States did not begin nor end with Samuel Warren and Louis Brandeis’ famous Harvard Law Review article in 1890. The advent of photography and cinema in the mid to late 19th century caused new harms to individuals, particularly women. A right to privacy became the discourse for protesting the unauthorised circulation and publication of women’s images, as contemporary debates concerning the 1888 Bill to Protect Ladies demonstrate. This chapter also connects the gendered history of ‘a right to privacy’ to current issues concerning the regulation of the unauthorised circulation of women’s nude or otherwise explicit images online, known as revenge pornography or non-consensual pornography.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Photographyof the nude' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography