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Tesis sobre el tema "Documentary photography"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Godeau, Vincent. "La photographie africaine contemporaine : vers une photographie panafricaine." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040097.

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La photographie africaine contemporaine est ici celle que pratique les Africains vivant en Afrique. Durant notre période (1989-2009), le constat de l’absence de spécificité de la photographie africaine fait place au constat du regard photographique erroné que porte les Occidentaux sur l’Afrique. « Quelle est la vraie photographie africaine ? » est une des questions les plus souvent posées. En parallèle, le genre du portrait s’impose, en lutte contre un afropessimisme ambiant, tandis que les photographies documentaire et du réel montrent l’Afrique vécue par les Africains. Plus militante, la pho

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12

Durrill, J. Edward. "People in public places /." Online version of thesis, 1991. http://hdl.handle.net/1850/10975.

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13

Turok, Karina. "Social skin : initiation through the bodily transformation of four South African women : an exploration using documentary photography." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/17244.

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Bibliography: p. 92-93.<br>My work questions social and cultural constructs of 'normality' and, by focusing on the practices of marginalised communities, questions dominant cultural conventions of female identity, beauty and sexuality. Within visual media, if the private or unsaid of female experience is said, it is seen as subversive. By focusing on four female initiations, my intention is to develop a specific yet complex comparison of different types of initiations. Embedded within the communities I have photographed are unique perceptions of beauty, each of which differs from mainstream no

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14

Hill, Alan A. "Beyond Good Intentions: Reframing documentary photography as a civil practice." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/416288.

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Documentary photography has long thought of itself as performing an important societal function. Although it is certainly capable of this, documentary discourse remains caught between imprecise ‘social justice’ ambitions and limited critiques of the ‘ethics’ of documentary work. This practice-led research seeks to reframe the practices and discourses of documentary through recent scholarship that synthesises photography and political theory. Ariella Aisha Azoulay’s rethinking of the category of ‘the political’ is central to enabling what she refers to as the emergence of the civil—defined as “

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15

Stumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /." Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.

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16

Campion, Britta Maree Art College of Fine Arts UNSW. "Photography as a method of visual sociology: An investigation of the potential of still photography as a method of visual sociology." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42059.

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Ever since the camera was invented people have been using it as a tool to reflect and record the world around them. Photographic images have great potential to investigate different social practices and phenomena in the world. Photography, in its own right, is an extremely large area of study. Despite its relatively short history, photography has undergone a broad and complex evolution since it was invented in 1840. This paper does not aim to cover the comprehensive history of the development of photography in its many facets, it aims however to concentrate on a specific area of what has come

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17

Davey, Gerald John. "Understanding Photographic Representation : Method and Meaning in the Interpretation of Photographs." Diss., University of Iowa, 1992. https://ir.uiowa.edu/etd/5372.

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The "linguistic turn" in early twentieth-century philosophy established that through language we not only live in a world but create it as well. Language, in this sense, incorporates the entire range of media and cultural artifacts through which we create and share meaning. In contemporary post-industrial societies, photographic images play a central role in communicating and creating the world in which we live. In part, this increasingly visually oriented culture is possible because we tend to equate what we see in photographs with what is real. Photographs, however, bring to light a vision o

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18

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.

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19

Meecham, Charles. "The Oldham Road Rephotography Project." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/7076/.

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This PhD by prior publication comprises a major rephotography project undertaken in two phases (First View, 1986-89 and Second View, 2009-12), together with a written commentary. The project is based on an area along the A62 which connects Manchester to Oldham, a corridor route, which I considered invisible and between places, a seeming ‘non place’.1 The research questions how can topographic images made by adopting strategies of rephotography help to depict aspects of place that remain hidden in generic representations and how, in turn, this photographic record can be put to use. The accompan

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20

WANDERLEI, Ludimilla Carvalho. "Modos de ver: a imagem do proletariado através do fotodocumentarismo." Universidade Federal de Pernambuco, 2016. https://repositorio.ufpe.br/handle/123456789/21138.

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Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-09-01T13:21:04Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertaçao.pdf: 7438574 bytes, checksum: 06a9847642e4f3a99a2d95ce35122fcc (MD5)<br>Made available in DSpace on 2017-09-01T13:21:04Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertaçao.pdf: 7438574 bytes, checksum: 06a9847642e4f3a99a2d95ce35122fcc (MD5) Previous issue date: 2016-02-24<br>CNPQ<br>Esta dissertação analisa a representação do proletari

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21

Finnegan, Cara Anne. "Circulating images : visual rhetorics of poverty in Farm Security Administration documentary photography /." Evanston, Ill. : Northwestern University, 1999. http://swbplus.bsz-bw.de/bsz264783905inh.pdf.

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22

Dinucci, Gina [UNESP]. "O cinza e a carne: imagens do Conjunto Habitacional Zezinho Magalhães Prado." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86895.

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Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-06-29Bitstream added on 2014-06-13T19:25:55Z : No. of bitstreams: 1 dinucci_g_me_ia.pdf: 1475358 bytes, checksum: 15bb7c47d97a3ab5009e2b53476a907e (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Universidade Estadual Paulista (UNESP)<br>Esta pesquisa tem como objetivo a apresentação, investigação e leitura da série de fotografias intitulada O Cinza e a Carne, bem como o diálogo entre as referidas imagens e reflexões sobre as capacidades documentais e artístic

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23

Riddler, Eric. "Sublime souls & symphonies : Australian phototexts, 1926-1966." Master's thesis, University of Sydney, 1993. http://hdl.handle.net/2123/14449.

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24

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.

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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 colle

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25

Stotzer, Talhy. "Photography and the medium : a photographic dialogue in China." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/598.

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Using documentary photography with an ethnographic approach, this practice-ledbresearch project focuses on a case study of a Han-Chinese woman called Zai yu who practices mediumship in urban China. It aims to explore the relationships between herbmediumship practice and the medium of photography. During a mediumship session, a spirit is represented as temporarily displacing the agency of the medium by entering his/her body and causing a change of identity. For the duration of the episode, the spirit can potentially provide access to divine powers and knowledge in order to counsel and to heal.

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26

Matzke, Alex. "If She Isn’t Working Miracles, What Is She Doing On The Battlefield?" VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4259.

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The images included in my thesis work reflect my experience growing up with military propaganda—pictures of cheerful white women in pearls as part of my rural middle American landscape. I do not name the oppressor because I am not here to pick at the thorns, but to get to the root of the oppression. These are some of the servicewomen I’ve met. Their stories parallel but cannot encompass the private experiences of all service women. I am grateful for their generosity; without them there would be no pictures. The battle for equality is much older than Rosie the Riveter but we still ask the same

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27

Rose, Kathleen A. "Environment "atmosphere" /." Online version of thesis, 1989. http://hdl.handle.net/1850/11084.

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28

Ackerman, Catherine. ""Because social issues should be addressed" /." Online version of thesis, 1991. http://hdl.handle.net/1850/10916.

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29

Tran, Michelle. "Standing in the shadow of the moon : a diaristic encounter with identity through my everyday /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/8531.

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Art and lived experience are the key to my work. Standing in the Shadow of the Moon – A Diaristic Encounter With Identity Through My Everyday is an inquiry into the various possibilities for photography as a diaristic medium that blends the concepts of documentary and tableau photography, whilst exploring my identity. In this mode of expression, my project is an investigation into concepts of self-representation and subjectivity. What does it mean to create an enigmatic series of 'self-portraits' that are focused on those around me, those whom reflect me, but are not me?

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30

Crinall, Karen Maree, University of Western Sydney, and Critical Social Sciences Research Group. "Imag(in)ing women as homeless : re/tracing socially concerned photography." THESIS_XXX_CSSRG_Crinall_K.xml, 2003. http://handle.uws.edu.au:8081/1959.7/453.

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This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to g

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31

Day, Meredith. "The New York City Photo League : determining influence through depth interviews with scholars, historians and curators /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422920.

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32

Deacon, Henry Christopher. "The perspective of Cape Town professional photographers on issues of integrity in the documentary photograph." Thesis, Cape Peninsula University of Technology, 2013. http://hdl.handle.net/20.500.11838/1312.

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Thesis submitted in fulfillment of the requirements for the degree Magister of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2013<br>This study investigates the perspective of Capetonian professional photographers on issues of integrity, regarding the impact of digital imaging technology. Key objectives are to establish how the concept of photographic integrity manifests itself throughout the history of the documentary genre, prior and subsequent to the introduction of digital imaging technology; to ascertain the extent to which the

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33

Speake, Terry. "What is wrong with disability imagery? : towards a new praxis of social documentary photography." Thesis, University of Bolton, 2012. http://ubir.bolton.ac.uk/609/.

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This critical appraisal presents the processes and outcomes of a coherent research programme carried out between June 2008 and June 2011 that interrogates the representation of disabled people through in-depth, practice-led case study and analysis, leading to the formulation of a praxis framework for presenting collaborative social documentary photography practices associated with disability. Through the systematic production of bodies of commissioned and personal projects, both successful and unsuccessful, an epistemology of practice is presented that constitutes an independent and original c

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34

Fromm, Karen. "Das Bild als Zeuge." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2014. http://dx.doi.org/10.18452/16968.

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Obwohl das dokumentarische Bild als beglaubigte Aufzeichnung einer außermedialen Realität als Diskursgegenstand bereits seit Längerem dekonstruiert ist, scheint die Faszination am Dokumentarischen nahezu ungebrochen. Die stete Bezugnahme auf das Dokumentarische in unterschiedlichen Diskursen der Fotografie zeugt davon. Auch zahlreiche künstlerische Auseinandersetzungen rekurrieren seit den 80er-Jahren verstärkt auf dokumentarische Konzepte und Formate. Ausgehend von diesem Paradoxon, der Dekonstruktion des Dokumentarischen in Theoriekontexten und dem Wiedererstarken dokumentarischer Formate in

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35

Nesbitt, Hills Christine. "Documentary Photography as a Tool of Social Change: reading a shifting paradigm in the representation of HIV/AIDS in Gideon Mendel's photography." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21561.

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Gideon Mendel’s ongoing photographic work documenting HIV/ AIDS, first started in 1993, has seen shifts not only in production but also in the author’s representation of his subjects. This paper looks at three texts of Mendel’s work, taken from three different stages of Mendel’s career and reads the shifting paradigm taking Mendel from photojournalist to activist armed with documentary photography as a tool of social change. This thesis explores how different positionings as an author and different representations of the subjects, living and dying, with HIV/AIDS influences meaning-making, and

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36

Dowdell, Emma-Kate. "Picturing irony: Making a visual case-study from the work of Camus." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1595.

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This research examines irony in photography from creative and theoretical perspectives. This body of work uses an interdisciplinary theoretical framework, drawing from literary and photographic irony, in conjunction with a practice-led research methodology. The creative project, Clint’s Last Road Trip (2014), traces the 1000 kilometre journey that my brother’s body made from his death until his cremation. It depicts the behind-the-scenes of the Western Australian regional death industry with an ironic autobiographical narrative voice inspired by that of Meursault in Albert Camus’ The Outsider

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37

Dinucci, Gina. "O cinza e a carne : imagens do Conjunto Habitacional Zezinho Magalhães Prado /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86895.

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Orientador: Omar Khouri<br>Banca: José Spaniol<br>Banca: Neiva Pitta Kadotta<br>Resumo: Esta pesquisa tem como objetivo a apresentação, investigação e leitura da série de fotografias intitulada O Cinza e a Carne, bem como o diálogo entre as referidas imagens e reflexões sobre as capacidades documentais e artísticas da linguagem fotográfica. Para fundamentar tal abordagem, buscou-se aliar um instrumental teórico referente a discursos e conceitos que acompanham a trajetória da fotografia, ao relato da Autora sobre o processo de criação e produção das imagens. A dissertação está, portanto, dividi

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38

Horta, Paula. "Portrait and documentary photography in post-apartheid South Africa : (hi)stories of past and present." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6491/.

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This thesis will explore how South African portrait and documentary photography produced between 1994 and 2004 has contributed to a wider understanding of the country’s painful past and, for some, hopeful, for others, bleak present. In particular, it will examine two South African photographic works which are paradigmatic of the political and social changes that marked the first decade after the fall of apartheid, focusing on the empowerment of both photographers and subjects. The first, Jillian Edelstein’s (2001) Truth & Lies: Stories from the Truth and Reconciliation Commission in South Afri

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39

Stacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.

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The job of a historian is to understand what happened in the past, resorting in many cases to written documents as a firsthand source of information. Text, however, does not amount to the only source of knowledge. Pictorial representations, in fact, have also accompanied the main events of the historical timeline. In particular, the opportunity of visually representing circumstances has bloomed since the invention of photography, with the possibility of capturing in real-time the occurrence of a specific events. Thanks to the widespread use of digital technologies (e.g. smartphones and dig

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40

Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/453.

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This thesis is primarily concerned with the meanings that are produced when women become visible amongst the homeless through photographic representations. While there have always been homeless women, unlike their male counterparts, they have remained largely invisible to the public and government policy makers.Social documentary photography has acted as one of the main avenues through which homeless women have, literally, been rendered visible. Driven by, and implicated in complex sociocultural and political circumstances, socially concerned photographs draw on the real and the fictional to g

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41

Ingmire, George. "Life is a One-Way Ticket: Herman Leonard's Eightieth Birthday Celebration." ScholarWorks@UNO, 2004. http://scholarworks.uno.edu/td/74.

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Life is a One-Way Ticket is a twenty-three minute documentary about jazz photographer Herman Leonard's 80th birthday party. The event took place at Rosy's Jazz Hall, a club in the uptown section of New Orleans where musicians including Ella Fitzgerald, Dizzy Gillespie and Stevie Wonder once performed. Within the documentary, I show the celebration as an analogy for the life of Herman Leonard. In short but moving passages, Herman Leonard reflects upon the nature of his longevity, the world today, and the "luck" he has had with photography. In addition to the voice of Herman Leonard, int

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42

Selser, Jayne Marie. "Mystery in a Common Place: A Supporting Paper for a Graduate Exhibition." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0419101-125304/unrestricted/selser0427.pdf.

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43

Freitas, Jr Edson Ferreira de. "Diante da dor dos outros: o conceito de documento na fotografia forense." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3135.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-22T21:30:26Z No. of bitstreams: 2 DISSERTAÇÃO_final Edson Freitas.pdf: 8402016 bytes, checksum: 8623d07fcba56566499f748e3fd2fbbd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2014-09-23T15:36:21Z (GMT) No. of bitstreams: 2 DISSERTAÇÃO_final Edson Freitas.pdf: 8402016 bytes, checksum: 8623d07fcba56566499f748e3fd2fbbd (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in D

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Wang, Han-Chih. "The Profane and Profound: American Road Photography from 1930 to the Present." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/468625.

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Art History<br>Ph.D.<br>This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary an

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Jemison, Annette Joy. "Julian Trevelyan in the context of documentary and Surrealist visuality : photography, collage and text, 1937-1939." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437220.

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Crinall, Karen Maree. "Imag(in)ing women as homeless : re/tracing socially concerned photography /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041103.175604/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2003.<br>"A thesis submitted for the degree of Doctor of Philosophy, Critical Social Sciences Research Group, University of Western Sydney" Bibliography : leaves 312-335.

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McDaniel, Kyle. "Aesthetics of Historiophoty: The Uses and Affects of Visual Effects for Photography in the Historical Documentary Film." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20729.

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This dissertation examines the origins, applications, and functions of visual effects in the historical documentary film. This research study investigates how aesthetic and editorial practices and tools are used for different image forms and as part of the visual presentation. A research design that implements qualitative interviews, visual analysis, and focus groups was incorporated to examine visual effects and images at three specific sites. The pan-and-zoom effect and its variants as well as select titles from the filmography of Ken Burns were used as case studies for this dissertation. Th

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Minkley, Hannah Smith. "Photographing other selves: collecting, collections and collaborative visual identity." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/12669.

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This study is situated in a social documentary photography context, and is concerned to explore whether the collaborative interaction between photographer, subject (as collector) and material object (as collection) might enable a practice that presents a more mutual and subject-centred visual identity emerge. In particular, photographers Jim Goldberg and Gideon Mendel have focused more on the subject themselves, using collaborative processes such as photo-voice and photo elicitation, as well as the use of peoples’ handwritten captions on photographic prints themselves. Claudia Mitchell’s overv

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Gonzalez, Nelky. "A wide view of a public market /." Online version of thesis, 1990. http://hdl.handle.net/1850/11540.

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Cabuts, Paul. "Image and imagination : creative photography and the South Wales Valleys." Thesis, University of South Wales, 2008. https://pure.southwales.ac.uk/en/studentthesis/image-and-imagination(ef47939f-0e3e-4ef9-8d40-415503cfb066).html.

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Image and Imagination: Creative Photography and the South Wales Valleys, explores the development of practices within photography undertaken in and about the South Wales Valleys during the second half of the twentieth century. Central to this study is an examination of the work of the American photographer W. Eugene Smith, who photographed in the Valleys in 1950, and how his practice influenced the wider development of 'creative photography'. The term 'creative photography' is applied here as a description of photography during a period of its transition, moving beyond a recognised position as

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