To see the other types of publications on this topic, follow the link: War photography Photography.
Dissertations / Theses on the topic 'War photography Photography'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'War photography Photography.'
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.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Jolly, Martyn. "Fake photographs making truths in photography /." Click here for electronic access to document: http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf, 2003. http://www.anu.edu.au/ITA/CSA/photomedia/ph_d.pdf.
Full text
2
Kirkpatrick, Erika Marie. "Photography, the State, and War: Mapping the Contemporary War Photography Landscape." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35723.
Full textAbstract:
This dissertation explores the ways in which media, visuality, and politics intersect through an analysis of contemporary war photography. In so doing, it seeks to uncover how war photography as a social practice works to produce, perform and construct the State. Furthermore, it argues that this productive and performative power works to constrain the conditions of possibility for geopolitics. The central argument of this project is that contemporary war photography reifies a view of the international in which the liberal, democratic West is pitted against the barbaric Islamic world in a ‘civilizational’ struggle. This project’s key contribution to knowledge rests in its unique and rigorous research methodology (Visual Discourse Analysis) – mixing as it does inspiration from both quantitative and qualitative approaches to scholarship. Empirically, the dissertation rests on the detailed analysis of over 1900 war images collected from 30 different media sources published between the years 2000-2013.
3
Ruminski, Jarret. "“A Terrible Fascination:” Civil War Photography and the Advent of Photographic Realism." Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1194962162.
Full text
4
Gassner, Patricia. "Icons of war photography : how war photographs are reinforced in collective memory : a study of three historical reference images of war and conflict." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2461.
Full textAbstract:
Thesis (MPhil (Journalism))--University of Stellenbosch, 2009.There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War
5
Stricker, Kirsten E. "The Absence That Is Present: Civil War Photography. 1862-2015." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491567573460185.
Full text
6
Paglamidis, Konstantinos. "Semiotics of Humanitarian Photography." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22424.
Full textAbstract:
Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fund-raising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fund-raising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development.
7
Cohen, Hagit. "Hovering at a low altitude /." Online version of thesis, 1990. http://hdl.handle.net/1850/10903.
Full text
8
Gill, Sabina. "Exposing wounds : traces of trauma in post-War Polish photography." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20052/.
Full textAbstract:
This thesis draws on psychoanalytic theories of trauma to interrogate works produced by Polish photographers after the Second World War. The aim of this thesis is to excavate traces of trauma latently embedded in post-war Polish art photography. By closely analysing a selection of photographs produced between the years 1945 and 1970, I argue that the events of the war cast a shadow over the lives of Polish artists. Rather than looking at photographs which directly visualise these traumatic events, I explore the ways in which these experiences manifest themselves indirectly or obliquely in the art of the period, through abstraction, a tendency towards ‘dark realism,’ and an interest in traces of human presence. Drawing on the photographs of Zbigniew Dłubak, Zdzisław Beksiński, Jerzy Lewczyński, Bronisław Schlabs, Andrzej Różycki, Józef Robakowski and other post-war photographers, I argue that the events of the war were not the only traumas to cast their shadow on the Polish psyche. Between 1945 and 1970, Poland underwent a series of transitions and changes in leadership, population and Party politics. Periods of optimism and leniency oscillated with phases of repression and social unrest. In my analysis, I suggest that multiple traumas can be discerned in these decades. What is at stake in this thesis is the proposition that a photograph can bear imperceptible traces of events that have wounded the psyche, which could not be articulated at the time, but which were made visible at a later date. Photographs made in the post-war years provided a space to belatedly return to encrypted traumas, to relay ideas that could not otherwise be articulated, and to acknowledge events that had been disavowed.
9
Rose, Josh. "When Reality Was Surreal: Lee Miller's World War II War Correspondence for Vogue." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4357/.
Full textAbstract:
During World War II, Lee Miller was an accredited war correspondent for Vogue magazine. Miller was trained as a surrealist photographer by Man Ray, and her wartime work, both photographic and written, is indicative of a combination of journalism and surrealism. This thesis examines Lee Miller's war correspondence within the context of Vogue magazine, establishing parallels between the photographs and writing to determine how surrealism informs it stylistically and ideologically. Using surrealist techniques of juxtaposition and an unmanipulated photographic style, and the surrealist concepts of the Marvelous and Convulsive Beauty, Miller presented the war as a surreality, or a surreal reality. This study concludes by using Miller's approach to suggest a new concept of journalistic practice: surrealist journalism.
10
Bingham, Stuart. "Photography and the Falklands Conflict : Homeric heroism in modern warfare." Thesis, University of South Wales, 2010. https://pure.southwales.ac.uk/en/studentthesis/photography-and-the-falklands-conflict(89c4a0f2-f9a2-44e5-8db4-44e7f8d2f997).html.
Full textAbstract:
The Falklands Conflict has always loomed large throughout my adult life. As a young man of 19 years old, I watched the television and read the newspapers with the same degree of excitement and fascination as most of the British population. In the following year, as a direct result of the passion and glory that surrounded the war I joined the British Army as a Royal Military Policeman. It quickly became apparent to myself, if not the military, that this was a poor career choice and that I was never cut out to be a soldier. After a military career lasting no more than a few weeks I went to college and started life as a photographer, joining the Ministry of Defence in the late 1980s. Since then, I have made numerous visits to the Falkland Islands to publicise the work of the soldiers who now defend the islands from any threat of re-invasion. Looking back, it seems that the war was over remarkably quickly, and by modern standards, where the war in Afghanistan is projected to last anything between 10 and 20 years, it was. It has often been described as Britain's last colonial war, the last in a long line of small conflicts that expanded and defended the British Empire. Attitudes to war in the South Atlantic developed in a bubble of patriotism and jingoism that has not been seen since and such attitudes now seem to be forged in imperialism, in a time long past and no longer available to representatives of British culture. However, on a wider stage, the representation of all wars and the men who fight in them has a long history. Each culture has its own way of coming to terms with conflict and death, but in the western world, the origins of the representation of the warrior can be traced back to the Ancient Greeks in general, and Homer in particular. Dr. Jonathan Shay, a psychiatrist with the United States Department of Veteran Affairs has made a compelling argument that breaking the Greek covenant has had lasting implications for the veterans of the Vietnam War. (Shay 1995) This psychoanalytical work has helped provide a model of representation that explains why soldiers are portrayed in the way they are. Without the work of Dr. Shay, I am sure that this thesis would not have taken the course that it has. In pursuing this thesis I have had to accept that there may be implications, perceived or real, for my ongoing work as photographer with the Ministry of Defence. The MoD has in various measures supported this research and to date has made no attempt to direct its course or influence the findings; in fact, at the point of submission, they are unaware of its contents. It is clear, that in this type of research, not all the findings will reflect well on the MoD's past or current working practices, but I believe it is possible for it to learn from the results. My position as an MoD photographer has on the other hand had a positive benefit on the research: I have been able to gain access to archives that have remained closed to others. Hilary Roberts, Head of Photography Collections at the Imperial War Museum, has been very influential in this work and has given me more co-operation and trust than I could have hoped for. She has also allowed me more time to present this work than I could have dared asked for given the nature of the images found in the IWM archive, and that the research spanned the 25 th anniversary celebrations. I remain grateful to Hilary for her unstinting support. Finally, I would like to thank Dr lan Walker for his support and supervisor expertise over far too may years. He has read and re-read this work more times than I care to remember and has remained perennially patient with my inabilities to either type or spell, a problem that has made his job all the more difficult. The research and the writing faltered on several occasions, some more serious than others, but without his skill in getting me to do things that, quite frankly, I really did not want to do, this project would never have been completed. It is to Ian that I hold the deepest debt of gratitude.
11
Mott, Thomas. "Images, imagination and impact: war in painting and photography from Vietnam to Afghanistan." Monterey, California: Naval Postgraduate School, 2013. http://hdl.handle.net/10945/34709.
Full textAbstract:
Approved for public release; distribution is unlimitedWar is a recurring motif in the visual arts. The link in politics and the arts between culture and conflict is especially important in age of global communications and political participation, in which both the symbols of conflict and the efforts via mass persuasion to counteract the political effects of such symbols have assumed considerable power. In Germany and the United States, the relationship of society to war forms a perennial theme as both societies probe at the tension between conflict and culture. The experience of these two nations is closely linked and yet characterized by contrasts as well as noteworthy similarities. This thesis examines how the artistic depiction of war in artspecifically painting and photographyhas developed in Germany and the United States in the last several decades, using the example of the Vietnam War and NATOs mission in Afghanistan as case studies. The thesis concludes that the images of war significantly influence the discourse and civil-military relations in each society. In their turn, these images of war contribute substantially to the shaping and forming of public opinion and can lead to political change.
12
Brothers, Caroline Ann. "French and British press photography of the Spanish Civil War : ideology, iconography, mentalité." Thesis, University College London (University of London), 1991. http://discovery.ucl.ac.uk/1382596/.
Full textAbstract:
This thesis has aimed to investigate the value of photographs to the study of history. It argues that photographs, as "witnesses in spite of themselves," constitute a rich source of historical evidence, providing direct insight not into their ostensible subjects so much as the particular ideological and cultural cast of the society in which they function. It argues that a society's common attitudes and beliefs are present in photographs in a way they are not in more literal discourse, and that the study of photographs offers the historian privileged access to that society's perceptual framework. In proposing as its case-study the relationship between war and photography during the Spanish Civil War, this thesis has examined 3,000 photographs printed in six French and six British illustrated publications across the political spectrum. It has focused most intensely upon the months between July and December 1936 as the period of most concentrated propagandist activity, but includes two particularly valuable publications from 1938-39. It has explored a number of critical theories in analysing these images, drawing chiefly upon structuralism, semiology and the hisroire des mentalités. This thesis concludes that the photographs examined in the French and British press often had little beyond fortuity to do with the conflict in Spain. Instead, these images hollowed out the specificity of Spain and filled it with assumptions particular to 1930s Britain and France concerning issues such as soldiering, gender, urban and social life, and mortality. Although each image was mobilised in the interests of propaganda, like all photographs their meaning was nevertheless dependent upon the cultural assumptions outside them to which they referred, and was determined by their context and use. This thesis thus concludes that photographs are replete with information about the collective imagination of the society in which they have currency and can thereby offer the historian a specific means of recovering the past.
13
Fahmy, Shahira. "Many images, one world : an analysis of photographic framing and photojournalists' attitudes of war and terrorism /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099617.
Full text
14
Kim, Sun-A. "Life and war in Korea photographic portrayals of the Korean War in Life magazine, July 1950 - August 1953 /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5548.
Full textAbstract:
Thesis (Ph. D.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 27, 2009) Includes bibliographical references.
15
Cieplak, Piotr Artur. "The Rwandan genocide and its aftermath in photography and documentary film." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609170.
Full text
16
Tranca, Ioana Alexandra. "Aesthetics in ruins : Parisian writing, photography and art, 1851-1892." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/270739.
Full textAbstract:
This project explores two main lines of inquiry concerning representations of ruins in Paris. I first identify a turning point in the evolution of the ruin leitmotif beyond Romanticism in its transfer into a new context: modern Paris. The analysis demonstrates the correlation between this leitmotif and urban environment in transformation, and their influence on aesthetics, leading to the renewal of modes of representation in literary and visual discourse. Unconventional ruins, recently created by demolition during Haussmannisation (1853-70) or war (1870-71) challenge conceptions about space (inside/outside, up/down, visible/invisible), time, and the individual in relation to the city. In view of tracing the transformation of the ruin ethos in relation to modern sensibilities towards the city and its modes of representation, a chronological approach concentrates on two main periods divided into four chapters. The first interval extends from 1848 throughout the Second Empire and the second spans the 1870-1871 conflagration and the Third Republic. An interdisciplinary and dialogic approach reveals the exchanges between different media (literature, journalism, painting, photography) aiming to convey the paradoxes of Paris's modern ruins. Moreover, close reading and comparisons of authors' and artists' depictions across media and genres nuance, correct or disprove critical appraisals, re-establishing artistic authority (e.g. photographers Charles Marville and Bruno Braquehais). The second line of inquiry posits that representations of ruins reflect on the relationship of Parisians with their city during systematisation and wartime destruction. Research reveals that individual initiatives of representing urban ruins attest to a new sensibility towards the city, preceding the Second Empire's (1853-1870) apparatus of historical and topographic documentation to preserve the appearance of spaces before intervention. Thus, during Paris's systematisation, private and artistically-minded projects become the tools of patrimonial preservation. By comparison, aesthetic approaches to ruins in 1871 mark a new appreciation of modern architecture, while engaging with war trauma.
17
Lewis, Kathryn L. "Imaging the Early Cold War: Photographs in Life Magazine, 1945-1954." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3765.
Full textAbstract:
This dissertation analyzes Life’s early coverage of the Cold War (1945-1954) in order to explicate this publication’s creation and reinforcement of prescriptive attitudes about this ideological engagement through photographically illustrated news. By uncovering Life’s editorial approach this project proposes a new diagnostic for evaluating documentary images by re-configuring Hayden White’s incisive theory of emplotment—the process of engendering historical narratives with meaning— through semiotic models proposed by Louis Hjelmslev and Roland Barthes, thereby offering a useful tool for future scholars to re-examine modern media’s transition towards prizing visual immediacy over critical engagement.
Life’s editors’ link narrative devices and rhetoric with photographs to make these images appear as first-hand experience and function as objective conclusions. Life characterizes the Cold War as an epic moral struggle between the US and USSR, and its 1943 special issue on Russia acts as the comedic prologue to this narrative by distinguishing these ideologically disparate wartime allies. After post-war agreements fail, this congenial atmosphere swiftly transitions into another battle between democracy and tyranny, defined through literary conventions. Life employs synecdoche and allegory to encode photographs of individuals as icons of valorous populations (Americans and Eastern Europeans) and to symbolize concepts (democracy and charity). Metonymy and irony transform photographs into direct signs of Communism and visual evidence of its degeneracy. Life’s comic presentation of Marshal Josip Tito contrasts with its satiric coverage of Senator Joseph McCarthy to direct readers’ attention towards the best and worst possible courses of action regarding the Communist menace, at home and abroad.
18
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.
Full textAbstract:
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.
19
Davis, August Jordan. "Bringing the war back home : the anti-war photomontages of Martha Rosler (1967-2008)." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548761.
Full textAbstract:
This doctoral thesis investigates the question 'How and why does Martha Rosier, artist and activist, bring the wars of Vietnam and Iraq back home time and again?' The aims of the investigation are to consider the two series of Martha Rosier's photomontages entitled "Bringing the War Home: House Beautiful" (1967 -1972) and "Bringing the War Home: House Beautiful, New Series" (2004 - 2008). The aims of such a consideration include: address of the photomontages themselves asthey relate to Rosier's particular development of a critical and activist photomontage practice (as initially developed in her feminist photomontage series "Beauty Knows No Pain: Body Beautiful" (1965 - 1974)); examination of original source images appropriated by Rosier for the making of her works, citing their original locations (work not undertaken previously by other scholars) and the events, scenes and valences thereof within these original photographs; theoretical propositions for how one can read the critical narratives and operative critiques embodied by Rosier's photomontages; and a consideration of the meta-commentary instantiated by Rosier's renewal of the anti-war photomontage series in light of 'the war on terror'. Results achieved This thesis has achieved a comprehensive overview of Martha Rosier's project as both artist and activist to bring the American wars in Vietnam and Iraq back home to the USas a work of anti-war activism, provoking a conversation with the population whose representatives in government are pursuing these foreign adventures in their names. The thesis achieves propositional readings ofthe theoretical workings of Rosier's images, alongside offering a historical contextualisation of both Rosier's extra-artistic activism and of the events depicted in her works which have not been recorded by other scholars. The researching and recording of original source material appropriated by Rosier in the making of these photomontages, again not recorded by other art historians elsewhere, along with the relevance of the selected source images, has been achieved within this thesis. Furthermore, this thesis has succeeded in postulating original theoretical appreciations of not only Rosier's photomontages in both eras ofthe series, but also ofthe nature of and motivation for her very act of renewal in the second stage ofthe series "Bringing the War Home". This is achieved specifically through my theoretical reading of the series as meta-commentary on the revision isms of American history and present foreign policy decision-making, presented through my concept of the 'reboot', which is developed in sympathetic concert with Rosier's own emphasis on popular culture / mass-media imagery asthe medium for presenting her critique within the series.
20
Smith, Gareth Ross. "The myth of the underdog in press photo images of the Syrian Civil War." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1757.
Full textAbstract:
While the origin of the Arab Spring is well documented in Tunisia, Egypt, Libya and Syria, the role of press photography in presenting these conflicts is not. Images taken during a conflict often follow a particular narrative that comes to define how we remember a conflict. Considering that Syria is composed of a heterogeneous, ethno-religious mix located at the center of intense regional and international rivalries, understanding the cause of the uprising and the trajectory of the conflict require a careful study of the socio-political history of Syria as well as her regional and international relations.
The aim of this study is to demonstrate how photographs taken of the Syrian Civil War that earned critical acclaim from photographic institutions mythologize the war. Semiotics provides a template for the interpretation of images that may be related to the underlying cultural forces shaping the conflict. Myth provides the forms in the presentation of archetypes in the images that we are able to readily identify so rendering the images relevant and recognizable to the viewer.
The mythologizing of images of war has been used since Frank Capa created an “aesthetic ideal” during the Spanish Civil War and been re-appropriated during subsequent conflicts of the 20th and 21st centuries especially the Gulf Wars of 1991 and 2003. This study uses a semiotic and mythological approach to analyze the winning photographs as selected by the National Press Photographers Association, World Press Photographers Association and Pulitzer Prize awarded during the course of the Syrian conflict.
The myths of the “victim” and “underdog” were the two most commonly applied myths to the civilians and the Syrian rebels, who were portrayed as the “lovable losers” in the conflict. These narratives differ from previous depictions of the two previous Gulf Wars in their empathetic depiction of the civilian population and of the rebels.
If maintaining the status quo is one of the enduring functions of myth then the underdog myth perpetuates voyeuristic participation in the conflict without requiring the discomfort of the removal of the Assad regime.
21
Williams, Allan Robert. "British photographic intelligence during the Second World War : a study of Operation Crossbow." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22046.
Full textAbstract:
In 2013 the candidate published Operation Crossbow: The Untold Story of Photographic Intelligence and the Search for Hitler’s V Weapons. Through a detailed examination of the relevant primary sources – including aerial photography recently released to the National Collection of Aerial Photography in Edinburgh - this book investigates the role of British photographic interpretation in the hunt for German V-weapons during Operation Crossbow. In so doing, it provides a wealth of information on such matters as the wartime development of photographic interpretation, the techniques used by the interpreters, the personalities involved, the significance of photographic intelligence to the operation, and the wider politics of wartime intelligence. In particular, it contests some of the claims made by R. V. Jones in his memoir, Most Secret War (1978), about the role of photographic interpretation in the Crossbow investigation. It also demonstrates the wider importance of photographic intelligence in the British military history of the war and offers some explanation as to why this has become a ‘missing dimension’ of wartime intelligence studies. The critical review seeks to provide an academic superstructure for the book, which was intended for a general readership, and demonstrates that the research included therein is commensurate with that required for a PhD.
22
Sheffield, Katie J. "Descendants." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3155.
Full textAbstract:
The photographer discusses the photographs in Descendants, her Master of Fine Arts thesis exhibition which was held at Tipton Gallery, Johnson City, Tennessee from October 31, 2016 through November 23, 2016. The exhibit consisted of 19 large format color photographs. This body of work visually represents the artistʼs interest in those who participate in Civil War re-enactments.
The historical and contemporary influences discussed are in accordance to Sheffieldʼs photographs. Historical influences include Matthew Brady, James Abbott McNeill Whistler, Walker Evans, and Helen Levitt, as well as those of contemporary artists; Martin Parr, Stacy Kranitz, and Anderson Scott.
23
Fortini, Marcel. "L'esthétique des ruines dans la photographie de guerre : Beyrouth un cas exemplaire." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3083.
Full textAbstract:
Cette étude s'attache au statut des ruines dans la photographie de guerre et en dresse l'inventaire de leurs aspects esthétiques. Le cas de la ville de Beyrouth, défigurée par les bombardements pendant la guerre civile (1975-1990), est à bien des égards exemplaire puisqu'elle a fait l'objet d'une commande photographique confiée à des photographes prestigieux, en 1991, qui avaient pour mission de conserver la mémoire d'un immense champ de ruines. Cette commande photographique est donc, pour cette raison, au centre de notre recherche. Pour saisir pleinement les enjeux des choix effectués par les photographes au cours de cette commande, il était nécessaire dans un premier temps, d'analyser la mise en place de la constitution d'une esthétique des ruines dans l'histoire de la photographie de guerre de 1853 à 1945, à travers des exemples célèbres sur les champs de bataille. Dans un deuxième temps, il était important de considérer les motivations et les objectifs de chacun des photographes dans le contexte de la commande, en les mettant en résonance avec d'autres expériences photographiques menées à Beyrouth pendant et après le conflit, mais aussi en filiation avec les cas étudiés dans la première partie. La troisième partie de cette thèse constitue un compendium des aspects esthétiques dans le traitement photographique des ruines de guerre à Beyrouth qui permet d'affirmer aujourd'hui que, la ruine de guerre est un genre à part entière en photographieThe present study explores the status of ruins in war photography and draws up the inventory of their aesthetic features. Disfigured by bombing and shelling during the civil war (1975-1990), the city of Beirut is in many respects an examplary case since it was the subject of a photographic commission entrusted to prestigious photographers in 1991, the mission of which was to preserve the memory of an immense field of ruins. For this very reason, this photographic commission is at the core of our research project. Firstly, in order to understand fully what was at stake in the choices made by the photographers within the framework of this commission, we had to analyze how the aesthetics of ruins has been elaborated in the history of war photography from 1853 to 1945, using famous examples from battlefields. Secondly, it was important to consider the motivations and objectives of each of the photographers within the context of the commission. For this purpose we made these elements echo other photographic experiences conducted in Beirut during and after the conflict, then we related them to the cases studied in the first part. The third part of the present thesis forms a compendium of aesthetic aspects in the photographic vision of war ruins in Beirut that makes it possible to assert that war ruins form a fully fledged genre in photography
24
Murphy, Brian Michael. "The Future of American Memory: Media Preservation, Photography, and Digital Archives." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398876304.
Full text
25
Knight, Peter G. ""MacArthur's Eyes" reassessing military intelligence operations in the forgotten war, June 1950 - April 1951 /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148503207.
Full text
26
Monks, Christian Patrick. "The twilight years of pictorialism in Vancouver : the art photography of Percy Bentley during the Second World War." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31680.
Full textAbstract:
A period of photographic history that has remained relatively unexplored in Vancouver is art photography during the Second World War. This thesis partly redresses this historical gap by examining the pictorial photography of Percy Bentley, a well known commercial photographer who operated a studio, the Dominion Photo Company, in Vancouver for almost half a century. Among the photographs that the thesis concentrates on is Bentley's most successfully exhibited image, An Eastern Gateway, which made its debut in 1941. Why did an image of India, originally taken in 1924 when Bentley worked as the official photographer aboard a cruise ship on its maiden world tour voyage, make its appearance as a pictorial photograph 21 years later during the Second World War? During the Second World War, the government of the Dominion of Canada recognised the role that photography could play in the war; it created the National Film Board of Canada to use the power of film and photography to nurture support for the war. The wartime government also required art and professional photographers to avoid photographing or printing images of prohibited areas that might locate military and industrial sites. The response of pictorialists was to recognise the requests of the government and to adjust their photographic output accordingly. Thus, pictorialists, like Bentley, tended to produce edifying portraits of soldiers. Pictorialists aligned their views with those held by the state. While the documentary photography of the National Film Board of Canada was conscious of its ideological stance and its effort to encode public opinion, Bentley's pictorial photography was just as self-reflexive about reproducing a position which paralleled views held by Britain and its Dominions on the importance of keeping India within the Empire. During the war, India was being swept by a tide of nationalism that sought independence from the British Empire at the same time that its eastern boarder was being encroached upon by a rapidly advancing Japanese army. I argue that Bentley's image, An Eastern Gateway, was imperialistically biased. At a time of national turmoil, the photograph showed a moment from the past in which India is represented as protected by the British Raj and passive.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
27
Midberry, Jennifer. "Visual Frames of War Photojournalism, Empathy, Compassion, and Information Seeking." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/377417.
Full textAbstract:
Media & CommunicationPh.D.
Although it has long been assumed that pictures depicting the human suffering of war evoke empathy and compassion, which leads to social action, there is little empirical evidence of that claim. This study aimed to fill the gap in visual communication theory about the effects of war photojournalism on media consumers' emotional and behavioral responses. This mixed methods design included a between-subjects experimental design tested whether photos (from conflicts in Afghanistan and the Democratic Republic of Congo) with a human-cost-of-war visual frame had significantly different effects on participants' levels of empathy, compassion, personal distress, other-oriented distress, and information seeking than pictures with a militarism visual frame. A second study used series of focus group discussions, to investigate how media consumers make meaning out of images of conflict. The findings expand our understanding about the way audiences react to conflict photos, and they have implications for how photo editors might present audiences with images of war that will engage audiences.
Temple University--Theses
28
Zerwes, Erika Cazzonatto 1980. "Tempo de guerra : cultura visual e cultura política nas fotografias de guerra dos fundadores da Agência Magnum, 1936-1947." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281154.
Full textAbstract:
Orientador: Iara Lis Franco SchiavinattoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-24T03:28:30Z (GMT). No. of bitstreams: 1 Zerwes_ErikaCazzonatto_D.pdf: 135961071 bytes, checksum: 0e115495780a66794d440c993d293a3f (MD5) Previous issue date: 2013
Resumo: Este trabalho enfoca as fotografias de guerra dos fotógrafos David Seymour, George Rodger, Henri Cartier-Bresson e Robert Capa no período anterior à fundação da agência Magnum. Naquele momento eles estavam envolvidos em uma cultura política determinada, os círculos de esquerda e anti-fascistas europeus, e esta filiação política fez parte do desenvolvimento de uma linguagem visual nova. Assim, suas fotografias de guerra construíram bases para uma linguagem fotográfica que intentava comunicar o que acreditavam serem realidades políticas e sociais, impactadas ao mesmo tempo que impactando uma cultura visual e uma cultura política; estabelecendo ao mesmo tempo um modelo para a profissão de repórter fotográfico. Deste modo, o Capítulo 1 se volta para os primeiros meses da Guerra Civil Espanhola, em que um ímpeto revolucionário pautou as reportagens de Chim, Capa e Cartier-Bresson para a imprensa de esquerda francesa. No Capítulo 2 busca-se discutir como o fazer fotográfico e a estética desenvolvidos por eles são ao mesmo tempo tributários e rompedores de uma certa tradição, impactando a cultura visual em especial por meio das imagens ícones. O terceiro Capítulo procura marcar as diferentes formas de narrativa, seus desenvolvimentos e limites, e como o ganho de controle sobre esta narrativa, assim como a glamourização destes fotógrafos, auxiliaram a concepção e concretização da agência
Abstract: This work focuses on David Seymour's, George Rodger's, Henri Cartier-Bresson's and Robert Capa's war photographs prior to the foundation of Magnum agency. At that moment they were involved in a determined political culture, European left and antifascists circles, and this political allegiance became part of the development of a new visual language. Their war photographs built the foundation for a new photographic language which intended to communicate what they believed to be social and political realities, impacted by and at the same time impacting a visual and a political culture, as well as establishing a model for the photographic reporter profession. Chapter 1 refers to the first months of the Spanish Civil War, when the revolutionary momentum marked Chim's, Capa's and Cartier-Bresson's histories for the French left magazines. Chapter 2 intends to discuss how the photographic practice and the aesthetics developed by them are in some ways part of a tradition and in some ways new, impacting the visual culture especially through the icon images. Chapter 3 intends to stress the different narrative forms, its developments and limits, and how the narrative control gain as well as the photographers' glamorization helped the agency's conception and establishment
Doutorado
Politica, Memoria e Cidade
Doutora em História
29
Nurenberg, Kenneth Martin. "On Approach: Making From and Towards the Image of the War Victim." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345485114.
Full text
30
Below, Jelka Ninja. "Photojournalism in War and Armed Conflicts : Professional Photography and the Framing of Victimhood in World Press Photos of the Year." Thesis, Uppsala universitet, Medier och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-131548.
Full textAbstract:
During the last decades, the presence of visual media has increased dramatically. However, very little empirical research has been carried out to determine the implication of the medium photograph as a visual information transmitter. The aim of this study was therefore to investigate the characteristics of professional press photos that relate to war and armed conflicts and to examine the framing of victimhood. A thorough literature review as well as an iconographic interpretation of World Press Photos serves to ascertain data in order to permit answering the research questions. The World Press Photo Foundation is the subject of research as it represents the most prestigious international competition for press photography at present and thus acts as an agenda-setter. That highlights the implication of its decisions about professional photographs since its coverage of certain issues biases the international media coverage of the same. It also affects the development of professional photojournalism. In this context the meaning of photographs in today’s visual media societies can be discussed.
31
Waggener, Diana Marie. "Media use of the American flag in images during times of armed conflict a visual semiotic analysis /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798481051&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
Full text
32
Jeff, List. "“From Hidden to (Over-)Exposed”: The Grotesque and Performing Bodies of World War II Nazi Concentration Camp Prisoners." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1191601326.
Full text
33
Roberts, Richenda M. "'Art of a second order' : the First World War from the British home front perspective." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4008/.
Full textAbstract:
Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise. This study will demonstrate that engagement with the home front inevitably meant that artists’ work could be interpreted as supporting different values to the pre-war period. However, the reintegration of ex-servicemen after the war resulted in the promotion of the wartime ordeal of male combatants. Not only did this restore the pre-war position of men, it inspired canonical values for British First World War art to uphold masculine authority. Consequently much art engaging with the home front has been deemed antithetical to established canonical values and written-out of art history.
34
Streckfuss, James A. "Eyes All Over the Sky: The Significance of Aerial Reconnaissance in the First World War." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1333736829.
Full text
35
Malan, Andre. "The use of historical photographs as source for cultural histor : the Sammy Marks photograph collection." Diss., University of Pretoria, 1996. http://hdl.handle.net/2263/37292.
Full textAbstract:
During his sojourn on earth man leaves traces behind. Subsequent generations can
follow these traces through research in order to find out more about his forebears. The
term document can be interpreted much wider than referring to written material so that
different types of material can serve as source from which this knowledge can be
drawn. Pictorial sources is one subsection underneath which photographic material in
turn resorts.
This study looks at the use of historical photographs as source from which the cultural
historian can draw information .. Historical photographs are often merely seen and used
as illustration material while they are sources in own right. It is the only source which
captures and eternalises a moment in time visually.
Unfortunately it is still a human with all his faults and deficiencies who stands behind
the camera. That means that although the photograph as source is generally speaking
very reliable and objective, historical criticism still has to be applied. To err is human,
over and above wilful misrepresentation. Furthermore there are certain pitfalls and
limitations inherent to the photograph.
At the Sammy Marks Museum just east of Pretoria, a large collection of photographs
has been preserved which shows the everyday life of the Marks family over a long
period of time. By examining these photographs a clear picture can be formed of the
everyday life of a well-to-do Victorian family in the Transvaal during the period 1890
to 1920. The actual images captured by the camera tell the story of these people's weal
and woe like words cannot do.
No source can be all-revealing .on its own. The photographs and the information drawn
from them, are supported and confirmed by references and quotations from the personal
correspondence of the family of which much has also been preserved. It is kept at the
University of Cape Town. The biography of Sammy Marks by Richard Mendelsohn
(Cape Town, 1991) as well as other literary sources has been studied and applied.
The study also contains a broad background sketch of the period and its spirit. By
making comparisons between the findings about the lives of Sammy Marks and his
family and what is known generally about the people of the time, one can see to what
degree they conformed or differed. The development of photography itself is also.
briefly discussed. The historical photographs which were preserved by the Marks family, serve as
example of how valuable such photographs are for our knowledge and the eventual
reconstruction of the past. Without them the task of the physical restoration of the
house, outbuildings and garden to their original shape would have been much more
difficult. At the same time and even more important, they breathe life into the house
through the information they contain about the people who used to inhabit it.Dissertation (MA)--University of Pretoria, 1996.
gm2014
Historical and Heritage Studies
unrestricted
36
Gaillard, Frédérique. "Approches esthétiques et théorétiques des archétypes dans le photojournalisme : à partir du World Press Photo (1956-2013)." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080021.
Full textAbstract:
Grâce à une analyse fondée sur l'esthétique et la théorétique, cette recherche sur le photojournalisme et ses archétypes soulève de nombreuses questions. La théorétique est l'approche d’une pratique considérée d’abord sous l’angle du « sans-Art » qui se distingue de l’esthétique en tant qu'approche théorique d’une réflexion assimilée principalement à l’art. La notion d'archétype est réfléchie à travers ses diverses facettes et donc avec différents champs d’études (psychologie, philosophie, mythologie...). Avant de s'intéresser aux photographies, il est important de déterminer comment l'image du photojournaliste s'est forgée à travers le temps. En revisitant la vie de Robert Capa et ce que l’on en dit, les travaux du mythologue Joseph Campbell apportent un éclairage nouveau et rend complexe mais possible l'analogie entre le héros de mythe et celui qui est considéré dès 1938 comme le plus grand photographe de guerre du monde. L'analyse approfondie et singulière des photographies primées au World Press Photo (WPP) dans la catégorie World Press Photo of the Year, de la création du concours à 2013 ouvre d’autres perspectives sur l'évolution du photojournalisme. Ce corpus iconographique traite principalement des catastrophes naturelles, de la famine, de la guerre et du terrorisme. L’être humain, ses actes et ses conséquences sont continuellement au cœur des reportages. Il faut parfois remonter très loin dans l'histoire de l'humanité pour comprendre les préoccupations du monde contemporain et les images que l'on en perçoit. Certaines photographies primées se sont imposées comme des marqueurs temporels historiques et forgent la mémoire collective. Plusieurs facteurs contribuent à développer cette mémoire collective. Se questionner sur l'archétype dans ces photographies, c'est aussi reconsidérer l'image mentale et l'image en tant qu'objet pour mieux discerner ses contours et appréhender ses enjeux. Le cheminement de cette recherche emprunte des voies inattendues pour livrer une interprétation novatrice de ces photographies de presseThrough an analysis based on the aesthetics and theoretical approaches, this research of photojournalism and archetypes raises many questions. The theoretical approach is to look at a practice first in terms of non-Art, as distinct from aesthetics as a theoretical approach to something that is primarily equated with art. The concept of archetype is studied through its various facets and thus with different approaches (psychology, philosophy, mythology, etc.). Before looking at photographs, it is important to determine how the image of photojournalist was forged through time. Revisiting the life of Robert Capa and what is said about it, the work of a mythologist, Joseph Campbell, sheds new light and makes it possible, although complex, to draw an analogy between the hero in myths and the man that is considered since 1938 as the greatest war photographer in the world. The detailed and unique analysis of the photographs awarded a prize by the World Press Photo (WPP), in the category World Press Photo of the Year, since the award was created until 2013, opens new perspectives on the evolution of photojournalism. This iconographic imagery deals primarily with natural disasters, famine, war and terrorism. The focus of the reports is continuously on people, their actions and their consequences. It is sometimes necessary go far back in history to understand the concerns of the contemporary world and the images that we perceive of it. Some winning photographs have emerged as historical time markers and shape our collective memory. A number of factors contribute to developing this collective memory. The question of archetype in these photographs also leads us to rethink the mental image and the image as an object, in order to better discern its contours and understand its challenges. This research uses unexpected ways to deliver an innovative interpretation of these press photographs
37
Bortoto, Pedro Mayer. "Imagens do trabalho: os ferroviários da Chicago and North Western Railway nas fotografias do Office of War Information, 1942-1943." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-10042014-124620/.
Full textAbstract:
Com o objetivo de explorar outras formas de aproximar a história dos trabalhadores, essa dissertação tem por escopo analisar um conjunto de 724 fotografias acerca da rotina da Chicago and North Western Railway e entender as formas possíveis de um discurso fotográfico acerca do trabalho e dos trabalhadores das estradas de ferro. Essas fotografias foram produzidas pelo fotógrafo Jack Delano sob a direção de Roy Emerson Stryker que, à época, encontrava-se na direção da divisão de fotografia do Office of War Information. Mais precisamente, as imagens fazem parte da trajetória do que ficou mais conhecido como Historical Section do Farm Security Administration, um grupo de fotógrafos conhecidos por retratar a situação do mundo rural após a Grande Depressão. Por conta disso, como modo de se aproximar às fotografias para analisá-las, foi preciso realizar uma reflexão acerca de seus elementos constitutivos, a saber: a história dos ferroviários, da divisão de fotografia e o problema de encarar a fotografia como um documento histórico. Feito isso, caracterizam-se as fotografias como vestígio em que as trajetórias de fotógrafo e da divisão, premidos por pressões políticas internas à estrutura estatal estadunidense, e as dos ferroviários marcadas por várias tensões entre patrões e trabalhadores se cruzavam. Com isso em vista, partiu-se para uma análise por meio de banco de dados para compreender como esse discurso estava constituído nas imagens. A partir de uma análise quantitativa somada a uma aproximação detida das narrativas fotográficas presentes na coleção de fotografias, percebeu-se que ela se apoiou em um discurso de harmonia entre trabalhadores e companhia ferroviária em favor de uma visão de equilíbrio social e que se adequasse às expectativas liberais em relação ao esforço de guerra. Mesmo com imagens que poderiam trazer ruídos para essa visão, a força de certa mitografia que entendia o trabalho como fonte da ordem social apontava, de fato, para um discurso de dominação em que a lógica capitalista aparece imposta sobre os trabalhadores por meio do discurso fotográfico.Having as an objective to explore other ways to approach the workers history, this dissertation has as scope analyze a collection of 724 photographs on the routine of the Chicago and North Western Railway and understand the contents of a photographic discourse about railroad work and labor. These photographs were produced by photographer Jack Delano under direction of Roy Emerson Stryker, the head of the Office of War Informations Division of Photography. More precisely, the pictures are part of what is mostly known as the Farm Security Administrations Historical Section, group of photographers acknowledged for picturing the situation of the rural America after the effect of the Great Depression. For that matter, as means to establish an analytic procedure, it was necessary to reflect on the photographs constitutive elements, as: the history of railroad workers, the history of the division of photography and the question of understand photography as a historical record. As a result, the photographs were characterized as vestiges in which the trajectories of the photographer and the division, pressed by the politics inside the American state, and the trajectories of the railroad companies and workers, marked by various tensions, met. With this in view, it was established an analysis of the photographs through a database so it could be understood how the discourse was constituted in these pictures. From a quantitative analysis coupled with a detained approach to the photographic narratives found in the photographic collection, it was understood that the pictures relied on a discourse of harmony between workers and the railway in favor of a vision of social balance that suited the liberals expectations towards the war effort. Even though some images have the potency to challenge such view, the power of the mythography that understood labor as a source of social order pointed, in fact, to a discourse of domination in which the logic of capital was imposed on workers by means of photographic discourse.
38
La, Forterie Maud de. "Visions modernes d’une Angleterre éternelle. Généalogies et part hantée de l’œuvre photographique de Bill Brandt (1904-1983)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL054.
Full textAbstract:
L’œuvre rigoureuse de Bill Brandt, au service d’une incontestable poésie, s’écoule sur près d’un demi-siècle et résume à elle seule les quatre grands genres de la photographie que sont le reportage social, le portrait, le nu et le paysage. Né à Hambourg en 1904, le déni de ses origines allemandes l’amena à s’identifier pleinement à l’Angleterre où il vécut la plus grande partie de sa vie, laquelle prit fin à Londres en 1983. Cette thèse a pour objet de mettre en évidence la trajectoire éminemment moderniste de Brandt, lequel a exploité au maximum le caractère réflexif de la photographie afin de satisfaire au mieux sa quête identitaire. Cette dernière, en prise avec les traversées géographiques et culturelles vécues par le photographe, s’articule autour de registres plus ténus ayant trait à la mémoire ainsi qu’aux perspectives historiques et généalogiques. Aussi, cette reformulation personnelle s’est accompagnée chez Brandt d’une reformulation de son œuvre et de sa pratique du médium jusqu’à en repousser les limites intrinsèques : portée par une appétence scopique, elle a exploré les ressorts spatiaux et diégétiques de l’image avant de tendre vers une sérénité haptique et sculpturale alors que le photographe accédait à sa pleine reconnaissance artistique, proposant ainsi une relecture des apports modernistesBill Brandt's quite rigorous works cover nearly half a century and encompass the four major kinds of photography (i.e. social photo-reportage, portraits, nudes and landscapes) with a true sense of poetry. Born in Hamburg in 1904, the denial of his German origins led him to fully identify himself with England where he lived most of his life in London until his death in 1983. This thesis aims at highlighting Brandt's modernist path as he constantly used the reflexive capabilities of photography as a way to satisfy his own quest for a native English identity. Beyond the geographical and cultural journeys experienced by the photographer before his arrival in England, the root causes of his quest actually lie in more tenuous matters related to memory as well as historical and genealogical perspectives. This personal quest for redefining his identity resulted in a progressive reshaping of his own works and practice of the medium to push back its inner limits: firstly driven by a scopic appetite, he then explored the many spatial and diegetic dimensions of image until finally evolving towards a more haptic and sculptural serenity as he was receiving a proper artistic recognition, hence offering a rereading of his modernist contributions
39
Serva, Leão Pinto. "A “fórmula da emoção” na fotografia de guerra: como as imagens de conflitos se relacionam com a tradição iconográfica explorada por Aby Warburg." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20631.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-05T13:17:47Z
No. of bitstreams: 1
Leão Pinto Serva.pdf: 8064382 bytes, checksum: d00f2189fa468bbe9388bd17152b07c9 (MD5)Made available in DSpace on 2017-12-05T13:17:47Z (GMT). No. of bitstreams: 1 Leão Pinto Serva.pdf: 8064382 bytes, checksum: d00f2189fa468bbe9388bd17152b07c9 (MD5) Previous issue date: 2017-11-10
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research seeks to identify the element responsible for the attractiveness of war photography, considering that conflict scenes are responsible for increasing audience of the media. The hypothesis of the research is that they contain Pathosformeln ("pathos formulas" or "passion formulas", concept created by the German critic Aby Warburg, 1866-1929), which cause impact by the immediate recognition of the emotions of the characters portrayed. Warburg pointed to the presence of ancient images from Pagan (Greek or Roman) culture appropriated by Renaissance artists and used as precoined forms for elements of expression of sentiment in paintings and sculptures from after the Middle Ages on. Since his death, the disciples of the German thinker have kept him as a reference to the study of ancient or Renaissance cultural manifestations, with rare exceptions (such as Carlo Ginzburg and Pablo Schneider, who use their concepts in analyzes of contemporary images). This research, which is linked to studies and reflections on Norval Baitello Jr.'s "Image Theory", applies to the War Photography, as a method, Warburg's analyzes of classical works, breaking his containment on ancient subjects. The chosen corpus is formed by photographs that obtained repercussion and recognition, participants of anthologies of this genre. The work, innovative as to the composition of the applied method and its object, detected in the analysis of the images several “formulas of emotion” used as paradigms in photos of conflicts
Este trabalho busca identificar o elemento responsável pela atratividade da fotografia de guerra, considerando que as cenas de conflito são responsáveis pelo aumento da audiência dos meios de comunicação. A pesquisa tem a hipótese de que tais imagens contêm Pathosformeln (“fórmulas de páthos” ou “fórmulas de paixão”) – segundo o conceito criado pelo crítico alemão Aby Warburg (1866-1929) –, que provocam impacto pelo reconhecimento imediato das emoções dos personagens retratados. Warburg apontou a presença de imagens antigas, oriundas da cultura pagã (como grega ou romana), apropriadas pelos artistas do Renascimento e usadas como “fôrmas” pré-moldadas para elementos de expressão de sentimentos em pinturas e esculturas posteriores à Idade Média. Desde sua morte, os discípulos do pensador alemão o mantêm como a principal referência para ao estudo de manifestações culturais antigas ou renascentistas, com raras exceções (como Carlo Ginzburg e Pablo Schneider, que usam os conceitos também nas análises de imagens contemporâneas). Esta pesquisa – que se vincula aos estudos e às reflexões da Teoria da Imagem de Norval Baitello Jr. – aplica à fotografia de guerra, como método, as análises de Warburg sobre obras clássicas, rompendo sua contenção a objetos antigos. O corpus escolhido para o estudo é formado por fotografias que obtiveram repercussão e reconhecimento, tendo sido incluídas em antologias do gênero. O trabalho, inédito quanto ao método aplicado e a seu objeto, detectou nas imagens analisadas diversas “fórmulas de emoção” usadas como paradigmas em fotos de conflitos
40
Danchin, Emmanuelle. "Les ruines de guerre et la nation française (1914-1921)." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100201.
Full textAbstract:
Ce travail de thèse porte sur les destructions matérielles de la Grande Guerre et plus particulièrement sur la manière dont la société française s’est emparée des représentations de ruines pour en faire un symbole de douleur. Première conséquence directe et visible d’un conflit, les ruines témoignent de la guerre, de sa conduite, mais aussi des souffrances vécues par les militaires et les populations civiles. De l’artiste officiel rattaché aux armées au simple citoyen non mobilisé, en passant par le soldat anonyme, tous ont évoqué pendant la Première Guerre mondiale les destructions matérielles, les paysages désolés, la terre bouleversée par l’artillerie. Photographiées, dessinées, filmées, exposées à Paris, Londres ou Genève, les représentations de ruines se sont ainsi affichées dans les journaux, ont circulé sous forme de cartes postales et ont été reproduites dans divers ouvrages. Ces représentations iconographiques ont été instrumentalisées dès le commencement du conflit pour appuyer des discours contribuant à mobiliser les populations et à convaincre les pays neutres du bien-fondé de la guerre. Elles sont ensuite devenues une manière de rendre visible le conflit, mais surtout de témoigner de la violence nouvelle de cette guerre d’artillerie. Les descriptions littéraires en firent des corps vivants, blessés, transpositions anthropomorphes des soldats dont on montrait peu les corps. Cibles de la violence des armes, corps symboliques, fragiles, elles incarnèrent donc successivement le corps du combattant, puis le corps sacré de la Nation. La paix revenue, les ruines furent mobilisées une dernière fois pour appuyer les demandes de réparations de guerre. Elles furent aussi honorées par des remises de décorations et valorisées dans les circuits touristiques. Le débat autour des ruines se réduisit alors à un questionnement sur la conservation des vestiges de guerreThis PhD work focuses on the material destruction caused by the Great War and more specifically on the way French society used the representations of ruins as a symbol of pain. As a first direct and visible consequence of conflict, ruins bear testimony to it, to its course, but also to the suffering of soldiers and civilian populations. Everybody, from the official military artist, the anonymous soldier to the ordinary citizen, evoked the material destruction, the desolate landscapes and the earth upheaved by artillery shells during the First World War. Photographed, drawn, filmed, exhibited in Paris, London or Geneva, the representations of ruins were shown in newspapers, they have been distributed as postcards and have also been reproduced in various works. These iconographic representations were used from the very beginning of the conflict to support the arguments used to mobilize populations and convince neutral countries of the validity of the war. They then became a way of making the conflict visible, but especially to testify the new violence caused by artillery. The Literary descriptions presented them as living, wounded bodies, as anthropomorphic transpositions of the soldiers whose bodies were rarely displayed. Targets of armed violence, symbolic bodies and fragile, ruins have embodied first of all the body of the warrior and subsequently the sacred body of the Nation. Once peace had been restored, the ruins were mobilized one last time to reinforce the demands for war reparations. They were also honoured through decorative ceremonies and valued through organized tourist tours. Since then the debate around ruins has been minimized to a question of their conservation as remnants of war
41
Ashley, Daniel. "Civil War Photographs Considered." Fogler Library, University of Maine, 2004. http://www.library.umaine.edu/theses/pdf/AshleyD2004.pdf.
Full text
42
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.
Full textAbstract:
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.
43
Ferré, Panisello M. Teresa. "Agustí Centelles i Ossó (1909–1985), de la jove promesa del fotoperiodisme als anys trenta fins al mite unívoc del fotògraf de la Guerra Civil construït durant la Transició." Doctoral thesis, Universitat Autònoma de Barcelona, 2020. http://hdl.handle.net/10803/672051.
Full textAbstract:
L’objectiu principal d’aquesta tesi doctoral ha estat traçar la biografia professional del fotògraf Agustí Centelles (1909-1985). Una carrera extensa que, globalment, es desenvolupà durant pràcticament mig segle: des dels anys vint del segle passat, fins a finals de la dècada dels 70. Centelles culminà la seva carrera com a fotoperiodista i es convertí en referent durant la Guerra Civil espanyola. Posteriorment es transformà en documentalista mentre estava detingut al camp de concentració de Bram el 1939, experiència de la qual en deixà un llegat fotogràfic excepcional en la visualització del sistema concentracionari francès. A partir dels anys 40 es dedicà durant dècades a la fotografia industrial i publicitària en la Barcelona franquista. La singularitat del personatge ha permès desenvolupar una recerca basada en una aproximació multidimensional a la història. Història del Fotoperiodisme local i internacional, Història de la Publicitat, Història social i cultural de la Segona República, el Franquisme i la Transició a partir de la reconstrucció biogràfica del fotògraf. Un diàleg entre la Microhistòria i la Macrohistòria plantejat des d’un marc teòric interdisciplinar que fa una interpretació crítica de la seva obra.El objetivo principal de esta tesis doctoral ha sido trazar la biografía profesional del fotógrafo Agustí Centelles Ossó (1909-1985). Una carrera extensa que, globalmente, se desarrolló durante casi medio siglo: desde los años veinte del siglo pasado hasta finales de la década de los 70. Centelles culminó su carrera como fotoperiodista y se convirtió en referente durante la Guerra Civil española. Posteriormente se transformó en documentalista mientras estaba detenido en el campo de concentración de Bram en 1939, experiencia de la que dejó un legado fotográfico excepcional en la visualización del sistema concentracionario francés. A partir de los años 40 se dedicó durante décadas a la fotografía industrial y publicitaria en la Barcelona franquista. La singularidad del personaje ha permitido llevar a cabo una investigación basada en una aproximación multidimensional a la Historia. Historia del Fotoperiodismo local e internacional, Historia de la Publicidad, Historia social y cultural de la Segunda República, el Franquismo y la Transición a partir de la reconstrucción biográfica del fotógrafo. Un diálogo entre la Microhistoria y la Macrohistoria planteado desde un marco teórico interdisciplinar que hace una interpretación crítica de su obra.
The main aim of this doctoral thesis has been to trace the professional biography of the photographer Agustí Centelles Ossó (1909-1985). An extensive career that, globally, lasted for almost half a century: from the 1920s to the 1970s. Centelles culminated his career as a photojournalist and became a powerful professional during the Spanish Civil War. Later, he became a photodocumentalist while he was detained in the Bram concentration camp in 1939, an experience of which he left an exceptional photographic legacy in the visualization of the French concentration camps. From the 1940s on, he devoted himself for decades to Industrial and Advertising Photography in Franco’s Barcelona. The uniqueness of the character has allowed to develop a research based on a multidimensional approach to History. History of local and international Photojournalism, History of Advertising, Social and Cultural History of the Second Republic, the Francoism and the transition to democracy from the biographical reconstruction of the photographer. A dialogue between Microhistory and Macrohistory raised from an interdisciplinary theoretical framework that makes a critical interpretation of his work.
Universitat Autònoma de Barcelona. Programa de Doctorat en Mitjans, Comunicació i Cultura
44
Silva, Keiny Andrade. "Fotografia de guerra no Iraque: a contribuição da digitalização para a iconografia fotográfica de conflitos." Master's thesis, [s.n.], 2009. http://hdl.handle.net/10284/1184.
Full textAbstract:
Dissertação de Mestrado apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Mestre em Ciências da Comunicação.Com o avanço das novas tecnologias, a Web tem potencializado o fluxo e o acesso de imagens sobre assuntos noticiosos. Este estudo aborda o impacto da digitalização da fotografia e sua contribuição para a cobertura de conflitos contemporâneos. Desenvolveu-se uma análise iconográfica e de conteúdo para identificar aquilo que tem sido possível observar na rede sobre a guerra no Iraque, usando fotos selecionadas em páginas virtuais criadas por fotojornalistas e militares. A visualização da guerra – esta inserida no novo contexto de distribuição de informação visual – tem sido marcada pela constante contribuição de fotografias tiradas pelas duas unidades mencionadas. Para os fotojornalistas, grupo com mais tradição em cobertura de conflito, a consolidação do uso da internet na rotina de produção de notícias e o aumento mundial do acesso à rede, criaram um meio comunicacional no qual a organização da informação visual vem ocorrendo de forma sistemática e personalizada. Por outro lado, com a simplificação do sistema, amplificaram-se as plataformas de visualização, bem como os produtores de imagens. Assim, é possível encontrar na Web diferentes exemplos de fotografias sobre assuntos relacionados com o conflito no Iraque. Com este estudo, foi possível isolar uma amostra visual no intuito de identificar conteúdos, características estéticas e enquadramentos informativos, daquele que tem sido o evento que marcou o processo de digitalização de informação – novo paradigma do fotojornalismo contemporâneo. In the advance of new technologies, the Web has become powerful the flow and the access for press photography. This thesis approaches the digitalization impact of the photography and its contribution for the contemporary conflict coverage. It was developed an iconographic and content analysis to identify what has been possible to observe about the war in Iraq inside the net. For this purpose, photos were selected from virtual pages created by photojournalists and soldiers. The visualization of the conflict, which is inserted in the new context of the distribution of visual information, has been booked by the constant contribution of photography taken by the two aforementioned groups. For the photojournalists, group traditionally well known by war coverage, the consolidation of the internet uses for news routine and the worldwide increase in net connections have created a communicational medium which the consequences for the visual information organization have been appearing in a systematic and personalized method. By the other hand, the simplification of the internet system embraced a wide range of amateurs because of the uses facilities of nowadays platforms and it also raised the images producers as well. Thus, it is possible to find in the Web several photography examples of the war in Iraq. In this investigation, it was possible to isolate them as visual sample to identify contents, aesthetic characteristics and informative frames used to represent Iraq and its issues. In this way, this thesis reaches the digitalization phenomenon of photography and it intends to understand the new pattern of the modern photojournalism.
45
McCormick, Connor. "Speaking for the Picture: Memory, Image, and Identity in the Works of W.G. Sebald and Chris Marker." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3758.
Full textAbstract:
The nineteenth and twentieth centuries saw the development of technologies for externalizing human memory beyond writing, painting, and sculpting. These modes of visual representation, namely photography and cinema carried with them a purported objective representation of reality, which has been used to create classifications, divide people groups, and construct grand historical narratives used to marginalize those that do not fit within the hegemonic center. Looking to the works of writer W.G. Sebald, and filmmaker Chris Marker, we see a complication of the divide between visual and verbal texts, as each artist deconstructs their own medium’s conventions. Using theories of ekphrasis to draw connections between verbal and visual representation, we see how Sebald and Marker explore notions of memory, identity, and history as they struggle with the impossibility of representing the great traumas of the twentieth century.
46
Straw, Mark Christopher. "The damaged male and the contemporary American war film : masochism, ethics, and spectatorship." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1711/.
Full textAbstract:
This thesis is about the depiction of the damaged male in contemporary American war films in the period 1990 to 2010. All the films in this thesis deploy complex strategies but induce simple and readily accessible pleasures in order to mask, disavow or displace the operations of US imperialism. It is my argument that the premier emotive trope for emblematising and offering up the damaged male as spectacle and political tool is the American war film. I also argue that masochistic subjectivity (and spectatorship) is exploited in these films, sometimes through using it as a radical transformative tool in order to uncover the contradictions and abuses in US imperial power, but mostly through utilizing its distinct narrative and aesthetic qualities in order to make available to spectators the pleasures of consuming these images, and also to portray the damaged male as a seductive and desirable subjectivity to adopt. The contemporary war film offers up fantasies of imperilled male psychologies and then projects these traumatic (or “weak”/“victimised”) states into the white domestic and suburban space of the US. Accordingly this enables identification with the damaged male, and all his attendant narratives of dispossession, innocence, and victimhood, and then doubles and reinforces this identification by threatening the sanctity and security of the US homeland. My argument builds towards addressing ethical questions of spectatorial passivity and culpability that surround our engagement with global media, and mass visual culture in the context of war. I ultimately identify ethical spectatorship of contemporary war films as bolstering a neo-liberal project advancing the “turn to the self”, and hence audiences could unwittingly be engaged in shoring up white male ethno-centricity and the attendant forces of US cultural and geopolitical imperialism.
47
Searle, Rebecca K. "Art, propaganda and the experience of aerial warfare in Britain during the Second World War." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/6919/.
Full textAbstract:
This thesis examines how artists working for the War Artists' Advisory Committee (WAAC) represented aerial warfare. In contrast to the scholarly attention lavished on wartime films and posters, official war art remains a much neglected aspect of the propaganda war. The few studies that do exist, most notably by Brian Foss, survey the collection as a whole and consider it from an art history perspective. By focusing on the single theme of aviation, a central and defining experience of the Second World War, I embed the WAAC within the economic, social, military and cultural histories of the period and locate it within a longer time frame. Through bringing these usually disparate fields of study into dialogue, I am able to use the art to enrich broader understandings of the period, in particular, the ways in which aerial warfare was represented, how this image evolved during the war and how these cultural products related to economic, military and social factors. This thesis highlights the different roles the WAAC was expected to fulfil. Housed within the Ministry of Information, the WAAC was expected to perform a propagandist function. The committee distanced itself from propaganda and insisted that its primary function was to record for posterity the experience of living through the war. I assess exactly what kind of record the WAAC bequeathed by looking thematically at the key aspects of aerial warfare: aircraft production; the Battle of Britain; the Blitz and the bombing of Germany. I argue that whilst there was broad correlation between war art and propaganda, these images registered aspects of experience that were incongruent with and therefore absent from wartime propaganda, such as the fear of aerial bombardment and the true nature of the bombing of Germany. Moreover, propagandist constructions were not entirely separate to lived experience, rather they both reflected experience and shaped the way that individuals understood and made sense of the world around them. Therefore, in producing images that accorded with propagandist portrayals, the WAAC artists were recording a fundamental part of the experience of living through the war.
48
Yim, Kim-ping. "Humanitarian Visual Culture Curriculum: An Action Research Study." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339712348.
Full text
49
Major, Mary Elizabeth. "War's Visual Discourse| A Content Analysis of Iraq War Imagery." Thesis, Portland State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535957.
Full textAbstract:
This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%.
This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.
50
Iseman, Stephen Dane. "Showing as a way of saying : the photograph and word combinations of Lewis Hine in support of child labor reform /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1113497089.
Full text