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Literatura académica sobre el tema "Documentary photography"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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Artículos de revistas sobre el tema "Documentary photography"

1

Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people o

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Padmanabhan, Lakshmi. "A Feminist Still." Camera Obscura: Feminism, Culture, and Media Studies 35, no. 3 (2020): iv—29. http://dx.doi.org/10.1215/02705346-8631535.

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What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in whi

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Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis

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Prasetyo, Martinus Eko, and Imamul Masyhudi. "Visual Aesthetics Semiotics Roland Barthes Photography Journalistic Works Phenomenal World." IMAGIONARY 3, no. 1 (2024): 27–39. http://dx.doi.org/10.51353/jim.v3i1.961.

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Documentary photography as a medium of conveying information and documentation can document reality and tell important stories with integrity and honesty. Where journalistic photography will continue to be a powerful tool in reporting the truth and influencing social change, giving us a window into a wider and more diverse world. This research visually analyzes the phenomenal works of world photography from the aesthetic side with Roland Barthes' semiotic approach. It tells that aesthetically the photograph is an embodiment of visual beauty immortalized by the photographer not only by chance i

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Balčus, Zane. "OF STILL AND MOVING IMAGES: STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES." Culture Crossroads 23 (January 10, 2024): 216–25. http://dx.doi.org/10.55877/cc.vol23.377.

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Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still pho

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Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se

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Langendorf, Richard. "Documentary photography." Computers, Environment and Urban Systems 15, no. 1-2 (1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.

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Нецић, Неда. "ДОКУМЕНТАРНОСТ И ФОТОЖУРНАЛИЗАМ У ПРОМЕНИ ГУТЕНБЕРГОВОГ ДРУШТВА". БАЛКАНСКЕ СИНТЕЗЕ 9, № 1 (2022): 31–44. http://dx.doi.org/10.46630/bs.1.2022.03.

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The appearance of photography in 19. century had stopped the fluidity of time and enabled the future generations to have an insight into history. Photographs are a visual testimony of the past and in the period of their occurrence people believed that photographs could provide a true and objective account of reality. Documented war conflicts, people, places and events can enable us an insight into the past. Implementation of photographs into the press gave rise to photojournalism. The press had abundantly used the photography as an illustration to the texts, and the people craved for informati

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Arsita, Adya. "JUKSTAPOSISI FOTOGRAFI DI NOVEL GRAFIS ‘THE PHOTOGRAPHER’." spectā: Journal of Photography, Arts, and Media 2, no. 2 (2019): 135–44. http://dx.doi.org/10.24821/specta.v2i2.2554.

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AbstrakPenelitian ini hendak mengkaji fungsi-fungsi dokumenter dalam karya fotografi yang divisualisasikan berdampingan dengan gambar-gambar komik dalam sebuah novel grafis berjudul ‘The Photographer: Into War-Torn Afghanistan with Doctors without Borders’. Tujuan dari penelitian ini adalah untuk mencari tahu apakah nilai dokumenter karya foto bisa tetap diapresiasi layaknya foto dokumenter ataukah ada peralihan fungsi ketika dua jenis piktorial disandingkan bersamaan. Metode penelitian yang digunakan untuk menganalisis adalah metode kualitatif yang menganggap bahwa setiap petunjuk adalah pent

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Pevec, Iza, and Lukas Birk. "Keeping a Story Alive: Interview with Lukas Birk." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 4–13. http://dx.doi.org/10.47659/m5.004.int.

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The work of an Austrian artist Lukas Birk can be connected to some dilemmas of documentary photography. If the critique of the classical documentary photography stresses the responsibility towards the photographed subject and the problem of the exoticization for the western view, Birk’s work is often developed, displayed and distributed in the place where his projects are created. Therefore, the first audience of his projects are locals and are, in that way, maybe more closely connected to the project itself. He co-founded the Austro Sino Arts Program in China and founded a residency program S

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Tesis sobre el tema "Documentary photography"

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Abdullah, Ismail Bin. "Documentary photography : a study of nineteenth century documentary photography with special reference to West Malaysian historical photographs 1874-1910." Thesis, Goldsmiths College (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344016.

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Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.

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Opal, Jack A. "Rethinking Documentary Photography: Documentary and Politics in Times of Riots and Uprisings." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366971692.

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Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider au

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Opal, Jack A. "Documentary Photography and the Edge of the Sword." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.

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Mitropolous, Maria. "Regimes of truth: Documentary photography in the margins." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/106899/1/T%28CI%29%2082%20Regimes%20of%20truth.pdf.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audien

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Johansson, Mouafik Adam. "Photography genres - A research study on the difference between documentary photography & photojournalism." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23212.

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För att sammanfatta mitt examensarbete har jag undersökt vad de bakomliggande faktorernaför en bilds genrekategorisering påverkas av, ifall det är innehållet i bilden som påverkar desseffekt eller om det är antingen publikskontexten/produktionskontexten som avgör en bildsgenre. Till min hjälp bestämde jag mig för att åka till Japan och träffa en fotograf vid namnSaid Karlsson för att genomföra en etnografisk studie och intervjua honom på plats. Delsgjorde jag detta genom att hitta skillnader mellan varandras bilder och att fotografera sakersom intresserar mig i Japan som blev en del av min med

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Le, Tallec Anne. "Le nouveau Documentaire Social : critique et renouveau du documentaire photographique américain sur la côte Ouest des Etats-Unis entre 1970 et 1980." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010542.

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Un groupe d'étudiants rassemblés par des idéaux artistiques se forme à l'Université de Californie San Diego dans la décennie 1970. Fred Lonidier, Martha Rosier, Allan Sekula et Phel Steinmetz, résolument tournés vers la photographie, élaborent une pensée collective sans toutefois former un groupe officiel. Pourtant, le partage d'une émulation propre à la côte Ouest du pays et à l'université où la pensée de figures tutélaires comme D. Antin, H. Marcuse, J. Baldessari, B. Brecht, H. Lefebvre ou H. Haacke stimule collectivement les esprits, confère aux méthodes et démarches des photographes une r

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Grayson, Louise. "Streets apart genres of editorial photographs and patterns of photographic practice." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50796/1/Louise_Grayson_Thesis.pdf.

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My doctoral research contributes to visual scholarship by investigating and defining representational strategies of three photographic genres – press photography, photojournalism, and documentary photography – using an ‘action genre’ approach (Lemke, 1995: 32). That is, rather than taking final photographic forms as being definitive of genre, I identify patterns of ‘activity types’ involved in the production of editorial photography to define genre (1995: 32). While much has been written on editorial photography, there is no organised body of scholarship that distinguishes between these three

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Gwaze, Alex. "Public mirror: legitimizing 'social' photography as a contemporary discipline." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29561.

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With all the public information about any famous person, topic or event 'googleable’ on the Internet, there seems to be nothing new for 'digital natives’ to discover other than the elusive Self. The Self is the 'new frontier’ and the smartphone camera is at the forefront of this quest, unearthing and exhibiting different kinds of content everyday. With over 95 million photographs and videos shared on Instagram daily; Photography has merged with social networking sites and applications (SNS/A) to become a recognisable phenomenon called – 'Social’ Photography. Despite its rich association with l

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Libros sobre el tema "Documentary photography"

1

Rothstein, Arthur. Documentary photography. Focal Press, 1986.

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Bogre, Michelle. Documentary Photography Reconsidered. Routledge, 2020. http://dx.doi.org/10.4324/9781003103516.

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Kadic, Fatima. Documentary photography and propaganda. LCP, 2001.

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Biasi, Mario De. Mario De Biasi: Dal fotogiornalismo alla fotografia astratta. Marsilio, 2010.

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author, Stanković Branislav, and Gajić Branimir author, eds. (Neviđeni) Beograd : U objektivu Riste Marjanovića 1936-1946: The Unseen Belgrade : (In Rista Marjanovic Objective 1936-1946). [Službeni glasnik], 2021.

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National Archives of Canada. Documentary Art and Photography Division. Documentary Art and Photography Division. Ministry of Supply and Services, 1992.

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Gordon, Stillman. Groundwork: A documentary photography project. Gordon Stillman Photography, 2011.

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James, Burant, National Archives of Canada. Documentary Art and Photography Division., Public Archives Canada. Picture Division., and National Photography Collection (Canada), eds. Documentary Art and Photography Division. National Archives of Canada, 1992.

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Peter, Wilkinson, ed. Photography yearbook. Fountain Press, 1986.

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Homma, Takashi. New documentary. Asahi Shimbun, 2011.

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Capítulos de libros sobre el tema "Documentary photography"

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Bogre, Michelle. "Reconsidering Documentary Photography." In Documentary Photography Reconsidered. Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-1.

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Bogre, Michelle. "Documentary Photography and Memory." In Documentary Photography Reconsidered. Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-2.

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Bogre, Michelle. "The Documentary Photograph as Evidence." In Documentary Photography Reconsidered. Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-3.

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Bogre, Michelle. "The Photographer as Witness." In Documentary Photography Reconsidered. Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-4.

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Bogre, Michelle. "Narrative." In Documentary Photography Reconsidered. Routledge, 2020. http://dx.doi.org/10.4324/9781003103516-5.

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Druker, Elina. "Chapter 8. In and out of focus." In Children’s Literature, Culture, and Cognition. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.

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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalist

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Harper, Douglas. "Documentary photography and visual sociology." In Visual Sociology, 2nd ed. Routledge, 2023. http://dx.doi.org/10.4324/9781003251835-2.

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Anderson, Joel. "From the photo session to documentary photography." In Theatre & Photography. Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_8.

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Bersch, Al, and Leslie Grant. "From Witness to Participant: Making Subversive Documentary." In Oral History and Photography. Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120099_11.

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Downing, Taylor. "CGI and the End of Photography as Evidence." In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_6.

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Actas de conferencias sobre el tema "Documentary photography"

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Chorna, O. Ye. "War documentary photography: perspectives, impact, and symbolism." In JOURNALISM, MEDIA, PR AND ADVERTISING: A CONTEMPORARY PERSPECTIVE. Baltija Publishing, 2024. https://doi.org/10.30525/978-9934-26-516-7-12.

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Safronova, Anna. "FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.09.

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The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography bo

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Martins Farina, Mauricius, and Mateus Souza Lobo Guzzo. "Engagement and estrangement: contribution to documentary photography methodology." In XXIII Congresso de Iniciação Científica da Unicamp. Galoá, 2015. http://dx.doi.org/10.19146/pibic-2015-38145.

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Wortzel, Sasha, Magdalena Hutter, and Gillie Kleiman. "Fat on Film (symposium)." In 10th Annual International Weight Stigma Conference. Weight Stigma Conference, 2024. https://doi.org/10.31076/2024.s1.

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1. How to Carry Water – short hybrid documentary This punk rock fairytale doubles as a portrait of Shoog McDaniel — a fat, queer, and disabled photographer working in and around northern Florida’s vast network of freshwater springs, the state’s source of precious drinking water. For over a decade, Shoog’s photographs have transformed the way fat people view themselves and how a fat phobic society views fat bodies. Bringing Shoog’s photography to life, the film immerses audiences in a world of fat beauty and liberation, one in which marginalized bodies — including bodies of water — are sacred.

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Li, Xiaozhou. "The Evolution of the Style of Chinese Documentary Photography." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.154.

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Hill, Rodrigo, and Tom Roa. "Place-making: Wānanga based photographic approaches." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.

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Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The

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Martinez, Lenny, Baptiste Caramiaux, and Sarah Fdili Alaoui. "Generative AI in Documentary Photography: Exploring Opportunities and Challenges for Visual Storytelling." In CHI 2025: CHI Conference on Human Factors in Computing Systems. ACM, 2025. https://doi.org/10.1145/3706598.3714200.

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Fan, Liu, and Zhang Yansong. "Research on the “Instantaneity” of Documentary Photography from the Perspective of Reception Aesthetics." In 2021 International Conference on Modern Educational Technology and Social Sciences (ICMETSS 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210824.032.

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Way, Kate. ""Reading the World" Through Camera Lens: Using Social Documentary Photography for Secondary Students' Civic Engagement." In 2023 AERA Annual Meeting. AERA, 2023. http://dx.doi.org/10.3102/2016944.

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NECHIFOR, Oana. "(At) Home and (On) the Road: Contemporary Photography Techniques of Documenting the Migration Phenomenon." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0025.

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The current presentation includes several queries regarding the interaction of migration and globalization – one of the most significant phenomena of social transformation in recent decades, as well as the meanings that this interaction presents for artistic research and practice. The major social and cultural transformations that have taken place in recent decades following more intense migratory movements have sparked an interest among artists for creating visual discourses, which, by using languages specific to different genres and environments, contribute to the dissemination of knowledge

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Informes sobre el tema "Documentary photography"

1

Swanson, Benjamin, Grant Meyer, and Julie Coonrod. Coupling of Hydrologic/Hydraulic Models and Aerial Photographs Through Time, Rio Grande Near Albuquerque, New Mexico: Report Documentary 2007 Work. Defense Technical Information Center, 2010. http://dx.doi.org/10.21236/ada529438.

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