Dissertations / Theses on the topic 'Photomontage Photomontage Photography Postmodernism'

This dissertation explores the development of Soviet photomontage from the second half of the 1930s to the end of the 1970s. Until now, the transformation of the modernist medium and its incorporation into the everyday practice of Soviet visual propaganda during and after the Second World War has not attracted much scholarly attention. The firm association of photomontage with the Russian Avant-garde in general, and with Constructivism in particular, has led art historians to disregard the fact that the medium was practised in the USSR until the final days of the Soviet system. The conservative government organisations in control of propaganda preserved satirical photomontage in its post-Dadaist phase and Heartfield-like form, finding it useful in the production of negative propaganda.

Bibliography: pages 109-111.
Dispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.

Master of Landscape Architecture
Department of Landscape Architecture/Regional and Community Planning
Jessica Canfield
The contemporary globalized world is full of wicked problems. A wicked problem is difficult to resolve, complex, and solving one aspect of a problem may create other problems. Wicked problems are shaped by invisible forces and flows. Landscape architects are uniquely poised to address wicked problems with their skills and capacity to think across systems and scales in spatio-temporal, ecological, and cultural dimensions. Landscape architects also communicate through visually-accessible methods which tell a story. Storytelling in landscape architecture seeks to reveal, connect, and tie together relationships and processes of the past and present to inform future possibilities of a place. Methods of storytelling can be used to address wicked problems because of their utility in inquiry and ideation. Developed through an original methodology using maps, diagrams, photomontage, and photographs, this project creates a storytelling framework which iteratively uses inquiry and representation to identify dilemmas, pose questions, and address issues as a means to reveal the impacts of forces on a wicked problem. The site selected to test this proposed methodology is the Athabasca oil sands in northern Alberta, Canada. Visible from space, the potential minable area of the oil sands spans an area the size of New York State. The world’s quest for oil has placed this landscape and its people on center stage. Billions of dollars’ worth of industry investment has put the landscape and people under siege through ever-shifting visible and invisible forces and flows. Dilemmas created by the region’s mining industry not only directly impact local people and landscape, but the greater world as well. Hampered with environmental, social, political, and economic issues, the future of this region is largely unknown, as there are few formal plans and regulations to ensure landscape reclamation and guide urban development. To tell the story of the oil sands, four themes—oil, infrastructure, environment, and people were analyzed. These themes—referred to as "ghost ecologies" because of their inconspicuous nature—when considered together, reveal key regional dilemmas and highlight new opportunities for future directions. Analysis inspired thinking toward future scenarios that imagine a series of new, highly productive and programmatically-integrated futures for the oil sands and its people. The unique process of inquiry and discovery led to a final project framework that identified methods for landscape architects to use in addressing wicked problems. A variety of audiences can consume this work to address the challenges of the Athabasca oil sands and other wicked problems in the world. To the public, the work serves as an evocative display of critical dilemmas worthy of future consideration. For professional and student landscape architects, the work reveals methods of inquiry to address wicked problems through the discipline.

Orientador: Regina Helena Pereira Johas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este estudo apresenta a minha produção artística entre 2008 e 2010, bem como as questões poéticas e reflexivas envolvidas nas séries: Paisagem Salgada I, II, III, IV, V e Paisagem Presente I, II, III, IV. A leitura do trabalho é determinada pelo reconhecimento da paisagem como elemento poético e fruto de uma construção permanente. No contexto reflexivo a presente dissertação se sustenta a partir das articulações no âmbito das questões da imagem hoje e de aproximações com a montagem cinematográfica. Para tanto apresento uma dissertação dividida em Primeira Parte, "Caderno I: livro de imagens" e Segunda Parte, "Caderno II: reflexões"; sendo a leitura das imagens o ponto de partida para a reflexão que se segue.
Abstract: This study presents my artistic production between 2008 and 2010, and the issues involved in reflective and poetic series: Paisagem Salgada I, II, III, IV, V and Paisagem Presente I, II, III and IV. The reading of the work is determined by the recognition of landscape as a poetic element and the result of a permanent construction. Within a reflective point of view the present dissertation is based on the issues of contemporary image and its approach to film editing. In this context I present a dissertation shared in two peaces, the first part, "Caderno I: book of images" and "Caderno II: reflections", so the read of the images is a start for the reflections that follow.
Mestrado
Mestre em Artes

Orientador: Fabiana Bruno
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objetivo desta pesquisa é contribuir para uma composição metodológica acerca das memórias do município de Maringá, considerando sua condição de núcleo urbano projetado ao final da década de 1940, por iniciativa da Companhia Melhoramentos do Paraná. Os resultados deste estudo se fundamentam pela contribuição de uma rede de interlocutores, homens octogenários e sexagenários - aos quais denominamos de "confabuladores", reconhecidos pioneiros moradores da cidade paranaense - os quais por meio de suas histórias de vida, de um vivo fluxo de reminiscências em torno do viver e do lugar, da palavra e da imagem, nos revelaram, como sujeitos sociais, que reconhecem o entrelaçamento de seus destinos, com o destino da cidade em formação. Aliando às histórias de vida, uma sistematização para a leitura de antigas fotografias, o trabalho amplia o espectro de interpretações das narrativas, possibilitando experimentações para a recriação de representações de acontecimentos, lembranças do cotidiano e da fisionomia da cidade em seus primeiros anos de vida, o que identificamos como "fotomontagens". Memória, palavra e imagem se reúnem para a articulação de uma memória individual que conspira para uma possível memória coletiva, se permitindo novas visitações e projeções de sua natureza plural e infinita
Abstract: The objective of this research is to contribute to a composition methodological about of the memory of the city of Maringá, considering the condition of urban center planned at the end of the 1940s, at the initiative of the Companhia Melhoramentos do Paraná. The results of this study are based on contributions from a network of informers, men octogenarian and sexagenarian - which we call "the speculaters" recognized pioneer residents of the city of Paraná - which through their life stories, a live stream of reminiscences around the live and the place of word and image, we revealed, as social man, who recognize the intertwining of their fates, with the fate of the city in formation. Combining the stories of life, to a systematic reading of old photographs, the work broadens the spectrum of interpretations of the narratives, allowing trials for recreating representations of events, memories and everyday face of the city in their first years of life, which identified as "photomontage". Memory, word and image come together to articulate a personal memory that conspires for a possible collective memory, is enabling new visitations and projections of its pluralistic nature and infinite
Mestrado
Multimeios
Mestra em Multimeios

Cette étude porte sur la place du photomontage dans le graphisme français de l’entre-deux-guerres, plus particulièrement dans la presse illustrée, l’affiche et la propagande politique. Fondé sur la combinaison d’éléments photographiques de façon à créer des images composites, généralement reproduites par impression photomécanique, le photomontage a été promu par les graphistes d’avant-garde mais aussi par les éditeurs de presse à grand tirage. Il devient à partir des années 1920 un élément caractéristique de la culture visuelle moderne, jusqu’à investir très largement les pavillons de l’Exposition internationale de 1937. Si les développements du photomontage en URSS et en Allemagne sont bien connus, la France a souvent été considérée comme réticente à l’usage de ce procédé, privilégiant un modernisme mesuré et un ancrage dans le dessin. En analysant le rôle des réseaux culturels communistes dans le développement du photomontage politique, nous identifions des phénomènes de transferts culturels étroitement liés à la sociabilité militante. L’étude de la production imprimée des organisations de gauche permet d’expliciter les fonctions attribuées à l’image comme moyen d’influence politique. Sur le plan iconographique, les photomontages se caractérisent par des procédés rhétoriques qui orientent la lecture du document photographique. Sur le plan du montage, s’opère une conjonction de temporalités hétérogènes. En prêtant une attention particulière à la fois aux conditions de production, aux réseaux d’acteurs et aux discours de légitimation, nous proposons un essai en iconologie politique qui en même temps se situe au plus près de la matérialité des images
This study examines the place of photomontage in French graphic design between the two world wars, particularly in the illustrated press, posters and political propaganda. Based on the combination of photographic elements to create composite images, generally reproduced by photomechanical printing, photomontage was promoted by avant-garde graphic designers but also by editors of large-circulation magazines. From the 1920s onwards, it became a characteristic element of modern visual culture, until it was widely used in the pavilions of the 1937 Exposition internationale in Paris. While the developments of photomontage in the USSR and Germany are well known, France was often considered to be reluctant to this technique, favouring instead a measured modernism and drawn illustrations. By analysing the role of communist cultural networks in the development of political photomontage, we identify phenomena of cultural transfer closely related to militant sociability. The study of the printed production of left-wing organisations makes it possible to clarify the functions attributed to the image as a means of political influence. On the iconographic level, photomontages are characterised by rhetorical processes which guide the reading of the photographic document. On the level of montage, they allow for a conjunction of heterogeneous temporalities in a single image. By paying attention to the conditions of production, to the networks of actors and to the discourses of legitimation, this essay in political iconology remains as close as possible to the materiality of images

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Known for integrate the art of his tiles to Brasília’s architecture, the plastic artist Athos Bulcão (1918-2008) developed during the first half of the 1950’s decade a series of photomontage. Before presenting surrealistic or classic aspects, each image expresses a narrative in motion that shows the influence of cinema and its montage. Analogous to the moment of photomontages of Jorge de Lima and Alberto da Veiga Guignard, Athos meets modernism more open to photography and experimentation. The present work seeks to understand the production’s context of these images, as well as understand the relation between the photomontages with other Athos Bulcão’s works. For purposes of analysis, the object of the research is limited to the collection of the artist's photomontages based in the Museu de Arte Moderna do Rio de Janeiro.
Conhecido por integrar a arte de seus azulejos à arquitetura de Brasília, o artista plástico Athos Bulcão (1918-2008) desenvolveu durante a primeira metade da década de 1950 uma série de fotomontagens. Antes de apresentarem aspectos surrealistas ou clássicos cada imagem expressa uma narrativa em movimento em que o artista se mostra influenciado pelo cinema e por sua montagem. Análogo ao momento das fotomontagens de Jorge de Lima e de Alberto da Veiga Guignard, Athos Bulcão encontra um cenário artístico mais aberto à fotografia e sua experimentação. O presente trabalho busca compreender o contexto de produção dessas imagens, assim como entender a relação dessas fotomontagens com a obra geral do artista. Para fins de análise, o objeto da pesquisa se limita ao acervo de fotomontagens do artista que se encontra no Museu de Arte Moderna do Rio de Janeiro.

ATENCIÓ: el pes del fitxer txmm3de3.pdf és de 70 MB
RESUM:
El treball realitzat vol ser un anàlisi exhaustiu de l'efecte causat per l'aparició de la fotografia en la representació de l'arquitectura, la seva introducció en les presentacions dels projectes i l'ús del fotomuntatge. Amb el canvi de segle, del dinou al vint, la fotografia ja va començar a entrar en les diferents disciplines artístiques inclosa l'arquitectura, de tal manera que amb l'aparició de les avantguardes artístiques els moviments arquitectònics
moderns també es van mostrar reaccionaris i van incloure, a part de nous conceptes arquitectònics, noves maneres de presentar-les, la qual cosa els va acostar a les propostes pictòriques i conseqüentment a la introducció
de la fotografia en el seu procés de treball i de presentació.
The study undertaken aims to present a comprehensive analysis of the impact of the emergence of photography in the representation
of architecture, its introduction into project presentations and the use of photomontage.
As the 19th century gave way to the 20th, photography had already begun its inroads into other artistic disciplines, including
architecture, hence the fact that with the emergence of the artistic avant-garde modern architectural movements also registered a reaction
and included, in line with the new architectural concepts, new ways of presenting them, moving closer to pictorial approaches, and hence the introduction of photography within their working and presentational process.

Esta dissertação propõe-se a avaliar a importância de Valério Vieira para a história da fotografia brasileira por meio de seus retratos e suas experimentações fotográficas. Valério, profissional inovador, utilizava recursos diferenciados em todas as expressões artísticas a que se dedicava: música, pintura e fotografia. O resultado da pesquisa abrange a trajetória do fotógrafo, com os fatos mais relevantes de sua vida, pessoal e profissional, os quais foram de grande influência tanto em sua produção como em seu pensamento. Aqui serão apresentados o seu ofício de retratista de estúdio, os panoramas de grande formato, as técnicas de manipulação de negativos e de imagens fotográficas utilizadas nas Fotografias Compósitas, bem como seus usos e aplicações, seguida de uma análise das obras de Valério baseada nas técnicas expostas. O nível técnico dos fotógrafos brasileiros em relação aos profissionais dos centros hegemônicos é um tema pouco explorado entre os pesquisadores da área e esse trabalho busca preencher essa lacuna, ao menos em parte.
The essay intends an evaluation of Valério Vieiras importance to the History of Brazilian photography through his portraits and photographic experimentation. Valério can be seen as a unique professional, who made use of several resources on creating new work on all art forms he used to express himself with, such as: music, painting and photography. The researchs outcome includes his photographic career, with all the significant events, both from his personal and professional life, which were of great influence either on his artistic production as well as his way of thinking. The purpose of this text is to show Valerios expertise as a studio portraitist, the large format panoramas, his technique on handling negative films and photographic images that can be found on Composite Photographic, as well as its uses and applications, followed by an analysis of Valerios personal work based on the pre-mentioned techniques. The equity between the Brazilian photographers technical level and his colleagues abroad, on the hegemonic centers, is a rare subject among researches and this dissertation aims to fill this gap, or at least part of it.

碩士
國立臺灣師範大學
設計研究所在職進修碩士班
91
Abstract The purpose of this study is to discuss the processes of wedding photography. This study consists of four chapters which includes relevant literature reviews the authors’ artworks and appendices of previous weddung images in Taiwan. The literature is reviewed based on two main stream,-- “Wedding photography” and “Photomontage”. The chapter briefly reviews the history of wedding photography movement in Taiwan, which describes the processes of the transformation of imagery representation from traditional photography studios into modern photographic studios in the period from the Japanese occupation to the present. In addition, the image representation styles and skills of wedding photography in different time periods are analyzed by comparing the differences in content elements and content formations of products between early times and the present. Furthermore, the theories and practices of photomontage are reviewed and discussed as well. In chapter 3, the concepts and the processes of adapting photomontage as the method of manipulating wedding photography are presented. The images show the way of using the multi-images photomontage style that is used in wedding imagery representations. The last chapter of this study states the recommendations and reflections of the author for further artists. Finally, this study will make a contribution to the profession of wedding photography industry.

Text in English, with abstracts and keywords in English, Zulu and Xhosa
Link to the dataset (catalogue): https://doi.org/10.25399/UnisaData.14101913.v1
Digital image editing is rooted in the analog practices of photographic retouching from the late nineteenth century. This study interrogated how novel contributions of new media practice can inform understanding of the relationship between digital and analog media. The study also sought to explore new conceptual avenues in the creation of digital art that incorporates key aspects of both new and traditional media. This study employed a literature review of selected discourses related to new media studies. Specifically, the work of scholars Lev Manovich, Jay David Bolter, Richard Grusin, and Filipe Pais on the interplay between traditional and new media formed the cornerstone of the analysis. These discourses contextualise an analysis of several contemporary case studies of digital artists, with a particular focus on John Craig Freeman and the Oddviz collective. These works were selected for the way in which they destabilise conventional notions of digital photography in new media and the way digital content can be ‘displaced’ into a physical space. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography, and intermediality. The dissertation concludes with an overview of my work that incorporates the concepts derived from my analysis of the case studies. It discusses how my exhibition Digital Tourist, a mixed media installation, makes use of photogrammetry and AR to displace the private connections of an individual life into the public space of the gallery.
Ukuhlelwa kwezithombe zezindaba zedijithali kususelwe emikhubeni ye-analokhu yokuthwebula kabusha izithombe kusukela ngasekupheleni kwekhulu leshumi nesishiyagalolunye leminyaka.. Lolu cwaningo luphenye ukuthi iminikelo yenoveli emisha yokwenziwa kwezezindaba ezintsha zingakwazisa kanjani ukuqonda kobudlelwano phakathi kwezindaba zedijithali ne-analokhu. Ucwaningo luphinde lwafuna ukubheka izindlela ezintsha zomqondo ekwakhiweni kobuciko bedijithali obufaka izinndaba ezibalulekile kokubili kwezokuxhumana nezendabuko ezintsha. Izinkulumo ezikhethiwe ezihlobene nezifundo zezindaba ezintsha zibuyekeziwe. Ngokuqondile, umsebenzi wezazi uLev Manovich, Jay David Bolter, Richard Grusin noFilipe Pais ekusebenzisaneni phakathi kwabezindaba bendabuko nabasha kwakha okuzobhekwa ngqo uma kuhlaziywa. Lezi zinkulumo zigxila ekuhlaziyweni kwezifundo zamanje zamaciko edijithali, kugxilwe kakhulu kuJohn Craig Freeman kanye neqoqo le-Oddviz. Le misebenzi yakhethwa ngendlela yokuthi ingazinzisi imiqondo ejwayelekile yokuthwebula izithombe zedijithali emithonjeni emisha kanye nokuthi okuqukethwe kwedijithali "kungahanjiswa kanjani" endaweni ebonakalayo. Ukusuka kulokhu kuhlaziywa kuvela imiqondo eminingana esebenza njengezimpawu ezihlukanisayo zokufuduswa kwabezindaba. Lezi zingqikithi zifaka phakathi ukwakheka, inkumbulo, ukwakheka kobunikazi, ukuziphendulela kanye nokuzibandakanya. Idezetheyishini iphetha ngokubuka konke ngomsebenzi wami ohlanganisa imiqondo esuselwe ekuhlaziyweni kwami kwezifundo zocwaningo. Ingxoxo ihlanganisa ukuthi umbukiso wami we-Zivakashi zeDijithali, ukufakwa kwabezindaba okuxubile, isebenzisa uhlelo lokuthwebula olusebenzisa ulimi noma ifothogrametri ne-AR ukukhipha ukuxhumana kwangasese kwempilo yomuntu ngamunye endaweni yomphakathi yegalari.
Ukuhlela imifanekiso yedijithali yinkqubo eyendeleyo, nowaqalwa kwiminyaka yokugqibela yenkulungwane yeshumi elinethoba, kwimisebenzi yezifaniso/yeanalogu ekuhlaziyweni kweefoto. Esi sifundo siphonononga ukuba igalelo elikhethekileyo leendlela ezintsha zonxibelelwano lwemiboniso/imidiya lingenza njani ukuqinisa ukuqonda unxulumano phakathi kwemiboniso yedijithali neyeanalogu. Kwakhona, esi sifundo sizama ukuphanda iindlela ezintsha ezisetyenziswa kubugcisa bedijithali neziquka imiba ephambili yemiboniso yale mihla neyakudala. From this analysis several concepts arise that serve as distinguishing markers for media displacement. These themes include embodiment, memory, identity formation, autotopography and intermediality. Kuphononongwe iingxoxo ezithile ezimalunga nezifundo zemiboniso yale mihla. Kuqwalaselwe ngakumbi imisebenzi yeengcali ooLev Manovich, Jay David Bolter, Richard Grusin kunye noFilipe Pais malunga nonxulumano phakathi kwemiboniso yakudala neyale mihla njengesiseko solu hlalutyo. Ezi ngxoxo zifaka emxholweni uhlalutyo lwezifundo zokuzekelisa zale mihla malunga nabazobi bale mihla, kugxininiswa kwindibanisela ka John Craig Freeman nekaOddviz. Le misebenzi ikhethwe ngenxa yokuba iyazichitha iingcinga eziqhelekileyo malunga nokufota ngedijithali kwimiboniso yale mihla nangendlela iziqulatho zedijithali “zinokushenxiswa” zisiwe kwindawo ebambekayo. Olu hlalutyo luveze iingcinga eziliqela nezisebenza njengeempawu zoshenxiso lwemiboniso. Imixholo iquka imifuziselo, ukukhumbula, ukwenziwa kwesazisi, ukuzazisa ngezinto onazo, unxulumano phakathi kwemiboniso eyahlukeneyo Le ngxelo yophando igqibela ngokushwankathela umsebenzi wam ohlanganisa iingcinga ezivele ekuhlalutyeni kwam izifundo ezingumzekelo. Ingxoxo ibonisa ukuba umboniso wengqokelela yemisebenzi yam owaziwa ngokuba yiDigital Tourist, ubusebenzise njani ubuchwepheshe ekuthiwa yifotogrametri (obokufumana ulwazi ngokuhlalutya imifanekiso) ekushenxiseni unxulumano lwabucala lobomi bomntu ibubeke kwindawo ebonwa nguwonkewonke apho kubukwa imifanekiso neefoto (igalari).
https://doi.org/10.25399/UnisaData.14101913.v1
Arts and Music
M.A. (Visual Arts)