Gotowe bibliografie tematyczne / Latin american photography

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji
  6. Raporty organizacyjne

Gotowa bibliografia na temat „Latin american photography”

Autor: Grafiati
Data publikacji: 15 lutego 2025
Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Latin american photography"

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Rincón García, Wifredo. "Images of the New World. Iberoamerican Art in the CSIC Photography Archive." Culture & History Digital Journal 6, no. 2 (2017): 020. http://dx.doi.org/10.3989/chdj.2017.020.

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The “Tomás Navarro Tomás” Library in the CSIC keeps an important photographic collection on Ibero-American art granted by the historians Diego Angulo, Enrique Marco Dorta and Santiago Sebastián particularly interesting for the research on Art and Photography History in Latin America.
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Ranney, Edward. "Recent Latin American Photography Books." Latin American Research Review 26, no. 3 (1991): 235–46. http://dx.doi.org/10.1017/s0023879100024031.

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Hopkinson, Amanda. "‘Mediated Worlds’: Latin American Photography." Bulletin of Latin American Research 20, no. 4 (2001): 520–27. http://dx.doi.org/10.1111/1470-9856.00028.

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Scorer, James. "Photography and Latin American Ruins." Journal of Latin American Cultural Studies 26, no. 2 (2017): 141–64. http://dx.doi.org/10.1080/13569325.2017.1309316.

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Duarte, German A., and Justin Michael Battin. "Latin America in Focus." Review of International American Studies 15, no. 2 (2022): 19–23. http://dx.doi.org/10.31261/rias.14917.

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A key distinction of Review of International American Studies is its commitment to the notion that the Americas are a hemispheric and transoceanic communicating vessel. This angle provides a unique path to de-center the American Studies discipline, which has become tantamount to studies of the United States. This angle also expands the discipline beyond its traditional literary roots, inviting critical investigations into other forms of communicative media, such as cinema, television, and photography. Informed and inspired by this conceptualization of the discipline, this issue of RIAS is comp
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Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.

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In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enactin
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Beezley, William H. "Images of History: Nineteenth and Twentieth Century Latin American Photography as DocumentsWindows on Latin America: Understanding Society Through Photographs." Hispanic American Historical Review 73, no. 1 (1993): 133–34. http://dx.doi.org/10.1215/00182168-73.1.133.

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Marini, Candela. "War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)." Fotocinema. Revista científica de cine y fotografía, no. 22 (January 25, 2021): 49–74. http://dx.doi.org/10.24310/fotocinema.2021.vi22.11650.

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In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and
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Alvarez Velasco, Soledad, and Nicholas De Genova. "“A Mass Exodus in Rebellion” – The Migrant Caravans: A View from the Eyes of Honduran Journalist Inmer Gerardo Chévez." Studies in Social Justice 17, no. 1 (2023): 28–47. http://dx.doi.org/10.26522/ssj.v17i1.4157.

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This article analyzes the migrant caravans as a strategy of resistance to the war against migrants in transit to the United States, exacerbated during the pandemic. This is the edited transcript of an interview conducted with Honduran journalist Inmer Gerardo Chevez, correspondent of Radio Progreso. Having travelled the Central American and Mexican routes accompanying on foot the transit of thousands of migrants since 2018, Chevez is a notable eyewitness and expert in situ of the Caravans. The interview confirms that the caravan has become one of the premier forms in which Latin American migra
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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well a
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Rozprawy doktorskie na temat "Latin american photography"

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Mandrile, Ana Cecilia. "The translation of fragments : a dialogue between photography and displacement in the practice of selected Latin American emigrant artists." Thesis, University of the West of England, Bristol, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415877.

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Callen, Tara Ashmore. "Video Art and Photography in Creation of Autobiographical Narratives with Adolescent Girls Aging out of an Orphanage (Hogares de Ni?as) in Peru." Thesis, Teachers College, Columbia University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10689108.

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<p> This dissertation was designed using a qualitative research mode of inquiry that utilized a mixed methodology approach. This dissertation was an ethnographic narrative study tracking eight young women who were &ldquo;aging out&rdquo; or forced to leave their orphanage in Peru, where most of them had spent a majority of their lives. The study examined the way in which a collaborative art community could support the participants as they narrated their lives over a 16-month period of time through photojournaling and social media outlets. </p><p> This study relied upon interviews, on-site ob
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Jamett, Christian. "Análisis de la violencia (política, económica y social) en la fotografía documental en Chile y México entre los años 1980 y 1990 : un acercamiento semiótico." Electronic Thesis or Diss., Perpignan, 2024. http://www.theses.fr/2024PERP0035.

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L'objectif de cette thèse est d'analyser la violence dans les photographies des photojournalistes au Chili et au Mexique dans les années 1980 et 1990. La recherche portera sur quinze cas qui seront analysés d'un point de vue technique et sémiologique, sur la base du schéma esthétique de Luciano Nanni. La méthodologie utilisée est qualitative avec des généralités comparatives, afin d'aborder les deux types de cas, chiliens et mexicains, dans la recherche de l'analyse de la violence dans les photographies enregistrées dans le contexte chronologique susmentionné. La recherche considère un regard
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Corp, Mathieu. "Des expériences du temps dans la photographie latino-americaine contemporaine." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA093/document.

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Les images exposées sous l’appellation de photographie latino-américaine varient selon les expositions où commissaires et critiques déterminent les critères qui légitiment la sélection et l’organisation des images. Seuls des partis pris curatoriaux semblent ainsi gouverner des choix dont les enjeux éthiques et esthétiques diffèrent et découper les expositions par des catégories thématiques et des textes exégétiques des œuvres où, depuis les années 1990, l’usage récurrent des termes « histoire », « mémoire » et « identité » contribue à attribuer des significations moins géographiques qu’histori
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Askam, Richard. "Memory, truth and justice: A contextualisation of the uses of photographs of the victims of state terrorism in Argentina, 1972-2012: Communicating an intersection of art, politics and history." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1339.

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Photographs of the victims of Argentine state terrorism from 1972 to 1983, and most prominently those of the detained-disappeared victims of the Proceso de Reorganización Nacional dictatorship (1976-1983), have had a significant role in elucidating the demands of human rights activists since the aftermath of the Trelew Massacre in 1972. In this thesis I examine the role of photographs of victims of state terrorism in the construction of unofficial, or counter, narratives critical of those produced by two dictatorships and by elected democratic administrations in the demand for truth and justic
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Calderón, Natalia. "Technologie de l'appareil photographique en Amérique latine : entre prise de vue et prise de pouvoir." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080041.

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L’arrivée de l’appareil photographique en Amérique latine au XIX siècle doit être considérée comme une problématique d’ordre techno-politique et pas seulement comme l’arrivée d’un nou-veau mode de représentation qui vient s’ajouter aux anciens types d’images déjà présentes dans le Nouveau Continent. À l’opposé, on considère que le mode de fonctionnement propre à l’appareil, en tant que producteur d’images techniques, a généré un changement dans le mode de perception et dans le mode de penser l’événement. Pour rendre compte de ce « changement du médium de la perception » comme le signalait Walt
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Jennings, Joshua Kerby. "On Making a Difference: How Photography and Narrative Produce the Short-Term Missions Experience." UKnowledge, 2017. http://uknowledge.uky.edu/cld_etds/32.

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Short-term missions participants encounter difference in purportedly captivating ways. Current research, however, indicates the practice does not lead to long-lasting, positive change. Brian M. Howell (2012) argues the short-term missions experience is confined to the limitations of the short-term missions narrative. People who engage in short-term missions build assumptions, seek experiences, understand difference, and convey meaning, as a result of this narrative. The process of telling and retelling travel stories is integral to the short-term missions experience. Drawing upon literature on
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Jacinto, Aeleen. "Mes-ti-zo." CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/915.

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Meztiso is an exploration of the artist’s identity as an individual born and raised in Guatemala; which is a country rich in natural resources where the majority of the population is native Maya yet the ruling class is majority white and poverty is widespread. The artist takes on this stunning contradiction using her own influences and views which were shaped by the political and economic upheaval and instability of her youth in Guatemala. The artist comments on her own identity as a person of mixed ancestry, a Meztiso, and because of her own family’s involvement in the capitalist government t
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Schmitter, Gianna. "Estrategias intermediales en literaturas ultracontemporáneas de América Latina. Hacia una TransLiteratura." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030016.

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L’objectif général de cette thèse est d’étudier les stratégies inter- et transmédiales des littératures latino-américaines émergentes en lien avec les nouvelles technologies. Le corpus se compose de livres (prose et poésie) d’écrivains et écrivaines d’Argentine, du Chili et du Pérou qui ont été publiés en format papier entre 2000 et 2015 et qui introduisent internet et/ou l’image  la photographie, la vidéo et la visualité du texte lui-même qui émule des interfaces. Dans la première partie, nous proposons d’abord un état des lieux sur la relation entre technologie et littérature en Amérique La
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Brito, Isa Marcia Bandeira de. "O feminino na fotografia latino-americana e moçambicana: Ricardo Teles, Hernán Díaz e Ricardo Rangel." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/84/84131/tde-12092018-122241/.

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O presente trabalho tem como objetivo promover um maior debate e reflexão sobre a representação do feminino negro na fotografia no século XX e começo do século XXI, especificamente no Brasil, com o projeto fotográfico de Ricardo Teles (1966), na Colômbia com Hernán Díaz (1931-2009) e em Moçambique com Ricardo Rangel (1924-2009) tendo como base seus livros autorais, respectivamente: Terras de Preto: Mocambos, Quilombos: Histórias de Nove Comunidades Negras Rurais do Brasil, de 2004; Cartagena de Siempre, de 2002 e O Pão Nosso de Cada Noite. Our nightly bread, de 2004. Para tanto, comparamos a f
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Książki na temat "Latin american photography"

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Concurso Internacional--Lo Mejor de la Fotográfia de America Latina (3rd 1995 Santafé de Bogotá, Colombia?). Fotografía latinoamericana 3 =: Latin American photography 3 : Tercer Concurso Internacional--Lo Mejor de la Fotográfia de America Latina. ASFOTO Imagen y Video, 1995.

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Galleries, Lehigh University Art. Latin American art 3: Cuban selections from the LUAG teaching collection. Edited by Viera Ricardo, Navarrete José Antonio, and Lehigh University. Art Galleries. Museum Operation. Lehigh University Art Galleries/Museum Operation, 2010.

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Galleries, Lehigh University Art. Latin American photography 2: Selections from the Lehigh University Art Galleries collection. Lehigh University Art Galleries/Museum Operation, 2006.

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Museum, Phoenix Art. Defining moments: The Judy and Sidney Zuber collection of Latin American photography. Edited by De Sá Rego Stella, Statzer Mary 1966-, Zuber Judy, and Zuber Sidney. Phoenix Art Museum, 2004.

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Aletti, Vince, writer of supplementary textual content, ed. A respect for light: The Latin American photographs, 1974-2008. Glitterati, 2014.

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Viera, Ricardo. Latin American artist-photographers from the Lehigh University Art Galleries collection. Edited by Dubois Gallery, Museo del Barrio (New York, N.Y.), and University of Puerto Rico (Río Piedras Campus). Museo de Antropología, Historia y Arte. Lehigh University Art Galleries/Museum Operation, 2001.

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Russet, Lederman, Carson Matthew, 10x10 Photobooks (Organization), Carnegie Museum of Art, Aperture Foundation, and Museum of Fine Arts, Houston, eds. CLAP!: 10 x 10 contemporary Latin American photobooks : 2000-2016. 10 x 10 Photobooks, 2017.

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Facio, Sara. Foto de escritor: 1963/1973. La Azotea Editorial Fotográfica, 1998.

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Levine, Robert M. Images of history: Nineteenth and early twentieth century Latin American photographs as documents. Duke University Press, 1989.

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London College of Printing and Distributive Trades. BA Photography dissertation 1991: Jorge Luis Borges and his fiction in the latin american context. LCPDT, 1991.

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Części książek na temat "Latin american photography"

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Cuarterolo, Andrea. "Film and photography." In The Routledge Companion to Latin American Cinema. Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-20.

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Kelly Hopfenblatt, Alejandro, and Silvana Flores. "Problematizing film and photography." In The Routledge Companion to Latin American Cinema. Routledge, 2017. http://dx.doi.org/10.4324/9781315720449-21.

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Uslenghi, Alejandra. "Modern Vistas: Latin American Photography at the 1876 Philadelphia Centennial Exposition." In Latin America at Fin-de-Siècle Universal Exhibitions. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137553966_2.

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William Foster, David. "The photography of Thomaz Farkas and the Estádo de Pacaembu." In The Routledge Companion To Gender, Sex And Latin American Culture. Routledge, 2018. http://dx.doi.org/10.4324/9781315179728-24.

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Pertierra, Anna Cristina. "Quinceañera: Coming of Age through Digital Photography in Cuba." In Consumer Culture in Latin America. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137116864_10.

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Rojinsky, David. "Never Again!" In Viewing Photography in Post-Dictatorship Latin America. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_6.

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Rojinsky, David. "Absent Gazes." In Viewing Photography in Post-Dictatorship Latin America. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_5.

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Rojinsky, David. "Disappeared (Epilogue)." In Viewing Photography in Post-Dictatorship Latin America. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_7.

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Rojinsky, David. "Memory Walls." In Viewing Photography in Post-Dictatorship Latin America. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_4.

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Rojinsky, David. "Vernacular Presence." In Viewing Photography in Post-Dictatorship Latin America. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-17590-9_2.

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Streszczenia konferencji na temat "Latin american photography"

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Barrientos, B., M. Cerca, J. García-Márquez, C. Hernández-Bernal, Niklaus Ursus Wetter, and Jaime Frejlich. "Three-dimensional displacement measurement by fringe projection and speckle photography." In RIAO∕OPTILAS 2007: 6th Ibero-American Conference on Optics (RIAO); 9th Latin-American Meeting on Optics, Lasers and Applications (OPTILAS). AIP, 2008. http://dx.doi.org/10.1063/1.2926979.

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Gonzalez Pena, Rolando, Rosa M. Cibrian-Ortiz de Anda, Angel J. Pino-Velazquez, and Yhoama Gonzalez-Jorge. "Strains and stress distribution on the shearwall by speckle photography technique." In IV Iberoamerican Meeting of Optics and the VII Latin American Meeting of Optics, Lasers and Their Applications, edited by Vera L. Brudny, Silvia A. Ledesma, and Mario C. Marconi. SPIE, 2001. http://dx.doi.org/10.1117/12.437055.

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Hess Norris, Debra. "All you need is love." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.

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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrim
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Lopez Barrera, Silvina. "The Architectural Typologies of Latinx Housing Precarity." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.62.

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Housing precarity in the Latinx community has been a persistent problem for decades in the United States. Trailer homes, mobile parks, barrack-like housing on farms, and substandard homes have influenced the experiences of generations of Latinx immigrants in the U.S. While these architectural forms may have been conceived as transient architecture, these housing typologies have become persistent through time and ignored from public debate. This paper explores the history of these precarious housing typologies and their role shaping Latinx spatial practices and lived spaces in rural America. Th
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Tomilin, M. G. "Photographic technologies based on liquid crystals." In Latin America Optics and Photonics Conference. OSA, 2012. http://dx.doi.org/10.1364/laop.2012.lt1c.2.

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Mazulquim, Daniel B., Giuseppe A. Cirino, and Luiz G. Neto. "Binary Amplitude Holograms: Coding and Fabrication Using Photographic Film." In Latin America Optics and Photonics Conference. OSA, 2010. http://dx.doi.org/10.1364/laop.2010.we18.

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Fajardo, E., M. F. Nader, F. Cristancho, et al. "The photographic capacity of a gamma Compton backscattering device." In VIII LATIN AMERICAN SYMPOSIUM ON NUCLEAR PHYSICS AND APPLICATIONS. AIP, 2010. http://dx.doi.org/10.1063/1.3480232.

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Reynoso Lara, Edmundo, José A. Dávila Pintle, Manuel Rendón Marín, et al. "Two nonlinear optical processes in z-scan curves of a bleached photographic film." In Latin America Optics and Photonics Conference. OSA, 2016. http://dx.doi.org/10.1364/laop.2016.ltu4a.8.

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Hernández, Héctor H. Huipet, and Víctor M. González. "Comparative analysis of user experience in virtual photographic-based presence platform." In CLIHC '15: Latin American Conference on Human Computer Interaction. ACM, 2015. http://dx.doi.org/10.1145/2824893.2824906.

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Bernal, L. "Ultrarapid plasma photographs with convergent beams." In IV Iberoamerican Meeting of Optics and the VII Latin American Meeting of Optics, Lasers and Their Applications, edited by Vera L. Brudny, Silvia A. Ledesma, and Mario C. Marconi. SPIE, 2001. http://dx.doi.org/10.1117/12.437074.

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Raporty organizacyjne na temat "Latin american photography"

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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The w
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Paradox and Coexistence: Latin American Artists, 1980 - 2000. Inter-American Development Bank, 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States colla
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