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

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Journal articles on the topic "Photographyof the nude"

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

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

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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 (2012): e3. http://dx.doi.org/10.1016/j.amjmed.2012.01.031.

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

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

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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.

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

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

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

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

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Dissertations / Theses on the topic "Photographyof the nude"

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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.

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

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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.

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Orientador: Stephane Remy Georges Malysse<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>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<br>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
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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.

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

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Análise da produção da imagem da mulher enquanto mercadoria na era moderna. O imaginário erótico na sociedade de consumo, na mídia gráfica do Século XIX ao Século XX. A imagem técnica e suas relações com a pintura acadêmica na representação da figura feminina e do nu, pela fotografia, cinema, ilustração e cartum. A pin-up sua origem e suas variações.<br>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 represe
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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.

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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 bea
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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.

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

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

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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.

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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
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Books on the topic "Photographyof the nude"

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

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Hurth, Robert. Glamour nude photography. Amherst Media, 1999.

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Sheila, Hurth, ed. Glamour nude photography. Amhurst Media, 1997.

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Trampe, Stan. Black & white nude photography. Amherst Media, 1998.

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

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

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

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

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

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

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Book chapters on the topic "Photographyof the nude"

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

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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.
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"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.

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

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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.

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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 19<sup>th</sup> 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.
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