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Journal articles on the topic 'Photojournalism Essays'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Mortensen, Tara M., Brian P. McDermott, Khadija Ejaz, and Daniel D. Haun. "Closing the Gap Between Photojournalist Research and Photojournalism Practice: Exploring the Motivations of the Subjects of Sensitive Photo Essays." Journalism Practice 13, no. 5 (2018): 576–91. http://dx.doi.org/10.1080/17512786.2018.1535907.

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2

Macnab, Andrew John, Ronald Mukisa, and Lynn Stothers. "The Use of Photo-Essay to Report Advances in Applied Science and Health." GHMJ (Global Health Management Journal) 2, no. 2 (2018): 44. http://dx.doi.org/10.35898/ghmj-22199.

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Background: In the applied health and science disciples there is an expectation that project work is reported through a publication. The conventional papers written to do this follow a structure that includes sections providing background, methods, results and a discussion or conclusion, supported by figures and tables. Sometimes photographs are included, and with more on-line publications the opportunities have increased for these to be available in full color. Borrowing from the field of photojournalism photo-essays are now a publication option where a series of images are used to tell the s

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3

Becker, Karin. "Protest in the Photo Essay: Following Tradition or Breaking New Ground?" Protest, Vol. 4, no. 2 (2019): 62–67. http://dx.doi.org/10.47659/m7.062.art.

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The photo essay, a form of visual journalism that arose during the era of the picture magazines, has reemerged as a regular feature of global news channels, including CNN, BBC World, and, notably, Al Jazeera English, recognized for its live reporting of political unrest. In 2017, a year marked by protest around the world, AJE published over 200 photo-series, including 37 on public protest. An analysis based in a four-year study of protest on screen, revealed that these photo essays share characteristics that in turn distinguish them from video broadcasts of public protests. The photo-reportage

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4

Baetens, Jan. "From photojournalism to photo-essay." History of Photography 28, no. 2 (2004): 191–92. http://dx.doi.org/10.1080/03087298.2004.10441307.

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5

Rafael, Vicente L. "Photography and the Biopolitics of Fear." positions: asia critique 28, no. 4 (2020): 905–33. http://dx.doi.org/10.1215/10679847-8606621.

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President Rodrigo Duterte’s drug war in the Philippines has exacted an enormous toll in human lives and suffering. This essay looks into one of the earliest and most graphic responses to this war: the work of photojournalists and the plurality of responses to their images. How does photojournalism become a kind of witnessing linked to the work of mourning? How are trauma and grieving braided together in the experience of photographers covering war? What is the role of the camera, and what are the ambivalent effects of the technical and aesthetic imaging of the dead and their survivors? How has

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6

Caple, Helen, and John S. Knox. "Online news galleries, photojournalism and the photo essay." Visual Communication 11, no. 2 (2012): 207–36. http://dx.doi.org/10.1177/1470357211434032.

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Sett, Alisha. "Photo Circle: A Short History of the Nepal Picture Library." Cabinet, Vol. 2, no. 2 (2017): 56–69. http://dx.doi.org/10.47659/m3.056.art.

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This is a short history of the Nepal Picture Library (NPL), Nepal’s first large-scale digital photo archive encompassing over 50,000 photographs collected in less than a decade. It is a rare institution; a catalogued visual resource open to the public with scores of intimate family collections, the historic and the mundane captured over decades by photojournalists, and portraits made in photo studios across the country. The essay provides insight into the strength, scope and potential of this community-created archive. Founded and managed by Photo Circle, a platform for photography in Kathmand

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8

Abcede, Del. "REVIEW: Noted: Jungle hostage to photojournalist." Pacific Journalism Review : Te Koakoa 24, no. 1 (2018): 246–47. http://dx.doi.org/10.24135/pjr.v24i1.432.

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Françoise Huguier: 100 Photos for Press Freedom, edited by Perribe Daubas. Paris: Reporters Without Borders (RSF). 2018. 134 pages. ISBN 978-2-36220-050-9. THIS is yet another extraordinary ‘100 Photos for Press Freedom’ album from Reporters Sans Frontières (RSF), this time with a focus on the ‘indignation of women against male predation and domination’ (p. 139), as essayist Aude Bassonville notes in one of the accompanying articles. The collection of photos mostly feature the work of French photographer Françoise Huguier, who is described by the editors as chareacteristic of the best at

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9

Holzer, Anton, and Elisabeth Lauffer. "Picture Stories: the Rise of the Photoessay in the Weimar Republic." International Journal for History, Culture and Modernity 6, no. 1 (2018): 1–39. http://dx.doi.org/10.18352/hcm.520.

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Between the mid-1920s and the early 1930s German photojournalism experienced a profound, far-reaching upheaval. Up until this time, the illustrated mass media had favoured the reproduction of single photos, but during this brief period the photo-essay rose to prominence. Photographs and texts were integrated into a new, complex narrative unity: photoreportage. This article aims to reconstruct the historical conditions under which modern photo-reportage arose during the Weimar Republic. It will also revise certain accepted judgements about the history of photojournalism between the world wars.

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10

Golestan, Hengameh. "Nothing But the Truth." Index on Censorship 36, no. 3 (2007): 73. http://dx.doi.org/10.1080/03064220701556673.

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The celebrated Iranian photojournalist Kaveh Golestan was killed when he stepped on a landmine while on assignment in Iraq, in April 2003. His widow, the photographer Hengameh Golestan, here introduces an essay and selection of photographs from the forthcoming book Kaveh Golestan 1950—2003: Recording the Truth in Iran, edited by Malu Halasa and Hengameh Golestan, to be published by Hatje Cantz and the Prince Claus Fund Library in October.

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11

Edwards, Steve. "Apocalyptic Sublime: On the Brighton Photo-Biennial." Historical Materialism 17, no. 2 (2009): 84–102. http://dx.doi.org/10.1163/156920609x436135.

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AbstractBased on an account of the Brighton Photo-Biennial Memory of Fire: The War of Images and Images of War, curated by Julian Stallabrass in late 2008, this essay considers the photographic coverage of the recent imperialist interventions in the Middle East. Taking its cue from Stallabrass's event, it reflects on the decline of documentary and photojournalism since the Vietnam War and the current attenuated politics of the media. It argues that the problem of the sublime extends beyond the current genre of 'aftermath'-photography and asks what might constitute a more cognitively adequate p

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12

Lagerquist, Peter. "Shooting Gaza: Photographers, Photographs, and the Unbearable Lightness of War." Journal of Palestine Studies 38, no. 3 (2009): 86–92. http://dx.doi.org/10.1525/jps.2009.xxxviii.3.86.

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Barred entry to Gaza during Operation Cast Lead, Western photojournalists and TV crews found themselves confined to the Israeli side of the border during the assault, peering along the barrels of IDF artillery. The following essay reflects on what was said and heard among them on a sunny day in January 2009, how they and local Israeli spectators related to the violence, and how these two perspectives were tacitly elided in photographs of the war.

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13

Marinell, William. "Voices Inside Schools: Capturing Authenticity, Transforming Perception: One Teacher's Efforts to Improve Her Students' Performance by Challenging Their Impressions of Self and Community." Harvard Educational Review 78, no. 3 (2008): 529–48. http://dx.doi.org/10.17763/haer.78.3.804g42hvt1630022.

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In this Voices Inside Schools essay, William Marinell describes the efforts of a public school teacher to improve her students' writing by attempting to increase their connectivity to their community. By designing photojournalism projects that prompt students to capture their authentic experiences, the teacher hopes to challenge the students'negative perceptions of their community, which she believes have a negative effect on her students' performance in school. Marinell elaborates on the personal and pedagogical dilemmas that the teacher faced while engaged in this work and how her instructio

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14

ALLBESON, TOM. "PHOTOGRAPHIC DIPLOMACY IN THE POSTWAR WORLD: UNESCO AND THE CONCEPTION OF PHOTOGRAPHY AS A UNIVERSAL LANGUAGE, 1946–1956." Modern Intellectual History 12, no. 2 (2015): 383–415. http://dx.doi.org/10.1017/s1479244314000316.

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In the postwar decade, UNESCO aimed to create an international public sphere to secure peace. The organization made extensive use of photographs to do so, including the photographic archive of works of art and photojournalism from the ruined cities of Europe. However, photography was not simply a transparent medium for communicating internationalist ideals; it was a formative influence in shaping UNESCO's effort to build “peace in the minds of men”. This essay analyses the conception of photography as a universal language articulated in UNESCO-sponsored forums, the use of photography in UNESCO

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15

Wikan, Daniar. "City of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 3, no. 01 (2017): 59–68. http://dx.doi.org/10.33633/andharupa.v3i01.1315.

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AbstrakCity Of Madness: Sebuah Potret Esai Fotografi Orang Dengan Masalah Kejiwaan (ODMK) Jalanan adalah sebuah upaya dalam memotret kehidupan ODMK khususnya yang terlantar di jalanan. Fotografi potret dalam City of Madness mencoba memberi penggambaran ikonik secara detail dari ODMK yang terlantar, gambaran tersebut mulai dari mimik wajah, bentuk tubuh, cara berpakaiaan, serta ciri-ciri fisik lainnya. Dalam rangkaian karya fotografi City of Madness, fotografer memotret orang gila yang ditemui di jalan-jalan kota Semarang –Yogyakarta secara tidak terduga. Foto orang gila atau lebih tepatnya iko

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16

Baldwin, James, Theodore Pelatowski, and Carmen Merport Quiñones. "Unto the Dying Lamb." PMLA/Publications of the Modern Language Association of America 135, no. 2 (2020): 344–49. http://dx.doi.org/10.1632/pmla.2020.135.2.344.

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In 1947 the Julius Rosenwald Fund Received an Application from a Young Writer Seeking to Document Harlem Life By “recording somehow the services of a store-front church in such a manner that it would emerge as neither savage, sensational, or sentimental” (Baldwin, Plan). The applicant—a twenty-three-year-old James Baldwin—explained that the work was already well under way. He and the photographer Theodore Pelatowski had begun to generate material for a photography book to be called “Unto the Dying Lamb.” “Dying Lamb” documents Baldwin's youthful gravitation toward the questions about religious

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17

Tambunan, Andri. "Articulations of Motion." Migration, Mobility, & Displacement 1, no. 1 (2015). http://dx.doi.org/10.18357/mmd11201513627.

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<p class="body_text">Andri Tambunan is a photojournalist based in Indonesia whose photographic essays work as catalysts for social change. In Tambunan’s words, “Beyond the act of recording, my aim as a photographer is to tell a story that voices the truth, evokes empathy, and ultimately moves people into action. Having a camera in my hand gives me both a rare privilege and a profound responsibility. Though the act of taking an image is instant, a photograph is capable of making a lasting impact.”</p>

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18

Sela, Rona. "“Imprisoned Photographs”: The Looted Archive of Photo Rissas (Rassas)—Ibrahim and Chalil (Khalil) Rissas1." Intermédialités, no. 32 (April 2, 2019). http://dx.doi.org/10.7202/1058469ar.

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This essay is the first dedicated solely to the work and archive of Ibrahim and Chalil (Khalil) Rissas (Rassas). Ibrahim was one of the pioneers of Palestinian photography in Jerusalem in the early twentieth century and Chalil, his son, was one of the first Palestinian photojournalists in the 1940s. Rissas’ images were looted and seized by Israeli officer from the photographers’ studio, from the body of a soldier or “slain Arab,” or “rescued” from a burning shop. Those photographs that had been looted from the studio, were the first collection I found in the Israeli military archives. In this

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19

Casadei, Eliza Bachega. "Os álbuns fotojornalísticos online e a construção do acontecimento │ Photojournalistic online albums and the construction of an event." Liinc em Revista 10, no. 1 (2014). http://dx.doi.org/10.18617/liinc.v10i1.630.

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RESUMO Uma vez que o conjunto de escolhas envolvido na seleção das técnicas composicionais de uma fotografia é mediado por universos de valores, o objetivo do artigo é analisar as técnicas composicionais das fotografias publicadas por álbuns fotojornalísticos online sobre os protestos de junho de 2013. Esses álbuns apresentam fotografias de profissionais e amadores consideradas “as melhores” desse evento e, curiosamente, as fotografias escolhidas possuem várias técnicas de composição em comum. Nós iremos analisar essas imagens sob a perspectiva dos efeitos de sentido que as técnicas de composi

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20

Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!" M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.26.

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This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates

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21

Allmark, Panizza. "Photography after the Incidents." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2719.

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   This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of t

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22

Barnes, Duncan, Danielle Fusco, and Lelia Green. "Developing a Taste for Coffee: Bangladesh, Nescafé, and Australian Student Photographers." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.471.

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IntroductionThis article is about the transformation of coffee, from having no place in the everyday lives of the people of Bangladesh, to a new position as a harbinger of liberal values and Western culture. The context is a group of Australian photojournalism students who embarked on a month-long residency in Bangladesh; the content is a Nescafé advertisement encouraging the young, middle-class Bangladesh audience to consume coffee, in a marketing campaign that promotes “my first cup.” For the Australian students, the marketing positioning of this advertising campaign transformed instant coff

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23

Vaughan, Christopher. "If It Bleeds, It Leads." M/C Journal 6, no. 1 (2003). http://dx.doi.org/10.5204/mcj.2136.

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In the mass media, the primacy of ever more intimate perspectives on violent confrontation, which has long been a staple of journalistic profit and practice, has undergone a crucial transformation over the last century. From an overt eagerness to take an active role in the experience of war to a coy, self-promoting emphasis on the risks of the trade, the representation of violent subjects has consistently been filtered through reportorial, yet tremendous change has befallen the role of professional interlocutors in the serving up the experience of war and violent conflict for domestic consumpt

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