This thesis explores how gender inequality in the photographic staff of the main Colombian media outlets, has established a hegemonic view of representation and examines the way recent social outbursts in the country, have been the ideal setting for the rise of citizen journalism, visual activism, and new visual citizenships. It seeks to present how diverse individuals, including female photojournalists are producing alternative visual narratives and igniting a paradigm shift on traditional photojournalism. By embracing new digital visualities and depictions of the other, these individuals are confronting traditional media organizations, questioning their visual narratives, inclusion, and representation policies.   Positioned from a Phenomenological and Feminist Media Theory standpoint, this project aims to observe this phenomenon from the bottom up, building from the experiences of the subject’s study. This project will consider emotions, affections lived experiences of three Colombian female photojournalists in active exercise of their profession, who will take part of this study, and those experiences will be basic inputs of interpretation. I contend that not sufficient research has been done on this topic, and expose an evident research gap, existing in Latin-American and Colombian Media Studies, since it’s connected to new technologies, recent social change and in general, a phenomenon still developing. Drawing from a Phenomenological Psychology field methodology, data will be obtained through semi-structured interviews and examined with coding and interpretation tools provided by this discipline. This study concludes how the female body becomes a political and visual signifier exercising an embodied practice in photojournalism, but also by emotions connected to what they are seeing through their lenses, which in turn, produces affective visualities and narratives many times, opposed to the claims of objectivity, rationality and newsworthiness traditional journalism stands for.

This thesis compares the visual representation of Syrian refugees during the 2015 refugee crisis and Ukrainian refugees during the Russian invasion 2022 in news outlets Dagens Nyheter, Svenska Dabladet and Aftonbladet. The aim of the study is thus to investigate how ethnic groups are framed in a photojournalistic setting. The theoretical concept otherness is used to analyze the selected visual images and the concept of visualities highlight how photographs published in the media communicate political messages and how images reflect immigration discourse. Additionally, photojournalistic regimes of visibility and responsibility are used to illuminate similarities and dissimilarities in the material. In total, 200 images made up the sample for the performed qualitative visual analysis. The findings reveal that empathetic portrayals dominate the Swedish narrative. Syrian refugees were overrepresented in imagery alluding to otherness painting a picture of Syrians as ethnic, cultural and dangerous others. Photography triggering social and political engagement were crucial in the forming of visualities, relating visual images to the political and public arena. The sampled images did reflect immigration discourses of intimidation and humanity.

The photojournalism department of the Deseret News is presently one of the most highly organized and productive departments within the newspaper itself. Major changes in staffing and management of the photo lab have been made since 1948, resulting in a more efficient department. Deseret News staff photographers are skilled in their profession and are proud to be a part of the newspaper staff. The Deseret News has a colorful history, from its beginning in 1850 with all the trials that accompany a growing newspaper up to and including the establishment of the Newspaper Agency Corporation in 1952. It is a progressive newspaper, always striving to improve its product.

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This dissertation thesis deals with the emotional power and effectiveness of photojournalism in the digital age. It focuses on journalistic photographs in the context of their emotional impact and examines the effects of the emotional response on media recipients. At the theoretical level, the work characterizes the origin and development of modern photojournalism and how it has established itself within media as a separate discipline; the digital age and its specifics in relation to modern photojournalism; and the emotional power of photojournalism itself and theories of emotion. It also briefly introduces the concept of visual literacy and defines ethical standards in the work of photojournalists. The analytical part of the work names specific features of the emotional power of photojournalism and the relationship between emotionality and journalistic photography. It also deals with the similarities between journalistic photography and reality and how mediation of reality through journalistic images has an effect on media recipients, again with regard to emotional aspects. Finally it touches on whether journalistic photographs have the potential to mobilize society through their exposure to the sensitivity and internal attitudes of media consumers, or on the contrary they cause numbness and...

This study presents research of role of title photographs in selected czech and foreign daylies. Theoretical part introduces visual culture concepts and role of photographic images in journalism, specificity of photojournalism, photographic genres and title photographs. Next part is dedicated to concept of new values, going from original Galtung / Ruge's taxonomy to contemporary revisited version of Harcup / O'Neill's. The last theoretical chapter introduces concept of gatekeeping and picture editor as visual gatekeeper. The practical part of this study is examining title photographs of 8 czech as well as foreign journals in 4 week long period. I am using method of content analysis, based on paper The content analysis of visual images and Gillian Rose's book Visual analysis. In my study I had applied news values to photographic materials. I chose combination of original Galtung / Ruge's concept together with Harcup / O'Neills contemporary revision, putting attention to entertaining aspects of media contents. The other paramteres I was following in my study were origin, size, topic, theme, negativity, orientation, gender content, etc. As a result I did find that there is very common way how dailyes handle with title photographs, which are having special status among other visual materials. There is...

O objetivo da presente pesquisa foi investigar a função informativa da legenda fotográfica no caso do Massacre do Realengo, analisando as relações entre a linguagem verbal e a visual no jornalismo contemporâneo. Foram estudados os contextos em que a fotografia jornalística transita como discurso pelos meios de comunicação, cujos alcances estão se expandindo pelas novas tecnologias. O corpus da pesquisa contou com 39 capas das edições impressas de jornais brasileiros do dia 8/4/2011, para o estudo de caso da tragédia conhecida como Massacre do Realengo. Foram utilizadas principalmente as metodologias de análise iconográfica de Kossoy e Gervereau, comparadas à análise das unidades de informação (quem, onde, quando, o que e como) contidas nas legendas fotográficas inspiradas nas metodologias de Morin e Santos. Foi aplicado também questionário sobre legenda fotográfica, respondido pelos jornalistas das redações dos jornais estudados (redatores-chefes, editores executivos, diretores de redação ou editores de fotografia). Constatou-se que mais de 50% dos jornais publicaram as fotografias do caso com suas respectivas legendas. Ao separar cada unidade de informação, verificou-se como a função informativa em cada caso promovia o diálogo entre o sentido imagético da fotografia e o sentido lógico do texto. A outra metade das fotografias publicadas formou predominantemente narrativas que facilitaram sua entrada na instância da imagem ao vivo, conceito elaborado por Bucci. Foi, enfim, possível concluir que a legenda fotográfica como unidade visual de fácil percepção do leitor cumpriu sua função informativa de dar suporte de sentido à imagem iconográfica em diálogo com outros módulos de texto do jornal, em geral, sob as seguintes tendências: 1) algumas legendas, redigidas com base nas unidades de informação, deram suporte de sentido à imagem; 2) algumas legendas continham apenas descrição do que se via na imagem e, portanto, não deram nenhum suporte de sentido à imagem; 3) e, outras, foram escritas com informações que não se relacionaram com as imagens e deram suporte de sentido à reportagem em geral e à mensagem sensacionalista que a maioria dos jornais pretendeu transmitir. / The goal of this research was to investigate the informative function of photographic captions focused on the case of the Massacre of Realengo, analyzing the relation between verbal and visual language in contemporary journalism. The essay analyses the contexts in which journalistic photography transits as a discourse through the media, which reaches have been expanded due to the new information technologies. The corpus of this research included 39 first pages of Brazilian newspapers printed editions, dated April 8th 2011, for the study of a tragedy known as the Massacre of Realengo. Kossoy and Gervereau\'s iconographic analysis methods were the most used, and they were compared to the analysis of information units (who, where, when, what and how), contained in the captions inspired by Morin and Santos´ methods. A questionnaire about photographic caption had also been applied to newsrooms\' journalists of the analysed newspapers (editor in chief, executive editors, newsroom directors or photo editors). It was found that over 50% of the newspapers published photographs of the event with their respective captions. By separating each information unit, it was verified how the informative function in each case promoted the dialogue between the imagery sense of the photograph and the logical sense of the text. The other half of the published photographs formed mostly narratives that facilitated their entry into the instance of the live image, a concept developed by Bucci. It was finally concluded that the photographic caption, as a visual unit of easy perception for the readers, fulfilled its reporting function to support the sense of iconographic image in dialogue with other modules of the newspaper text, in general, under the following trends: 1) some captions, written based on the information units, provided support for the meaning of the image; 2) some captions contained only description of what was being seen in the image, therefore, they did not give any support for the meaning of the image; 3) and others were written with information which did not relate to the images, giving sense support to the overall report and to the sensationalist message which most newspapers intended to transmit.

Submitted by Eunice Novais (enovais@uepg.br) on 2018-03-21T22:55:40Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Rafael Schoenherr.pdf: 13086596 bytes, checksum: 12e4705466b6bdcd22e2d3bcf109e928 (MD5) / Made available in DSpace on 2018-03-21T22:55:40Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Rafael Schoenherr.pdf: 13086596 bytes, checksum: 12e4705466b6bdcd22e2d3bcf109e928 (MD5) Previous issue date: 2017-12-13 / Esta pesquisa problematiza as implicações geográficas do fotojornalismo cultural, tendo por recorte imagens de ocorrências ou situações de expressão musical no espaço público. Busca-se responder de que modo as fotografias inscrevem a música na paisagem cultural urbana por meio de análise do acervo online de fotos publicadas do projeto de extensão Lente Quente, do curso de Jornalismo da Universidade Estadual de Ponta Grossa (UEPG), de 2010 a 2014. Acervos auxiliares e fotos referenciais são mobilizados para efeitos de compreensão sobre a diversidade de registros fotográficos utilizados na forma de representar a música e também suas continuidades ou similaridades. Entende-se que a visibilidade da música se estrutura na convergência entre a fotografia de rua, o documentarismo fotográfico da cidade, a ação jornalística de cobertura fotográfica de eventos em praça pública e ruas e na dimensão histórica do ofício de fotógrafos voltados ao registro da vida musical na cidade. Encontra-se na figura benjaminiana do flâneur, nas reverberações visuais da cidade e no expediente de mobilidade de fotógrafos no início do século XX uma chave para compreensão de variações no modo de se operar a captura da cena musical local no espaço público. / This research problematizes the geographic implications of cultural photojournalism, taking pictures of occurrences or situations of musical expression in the public space. It seeks to answer how the photographs inscribe the music in the urban cultural landscape by analyzing the online collection of published photos of the Lente Quente extension project of the Journalism course of the Ponta Grossa State University (UEPG), from 2010 to 2014. Auxiliary collections and reference photos are mobilized for the purpose of understanding the diversity of photographic records used in the form of representing the music and also its continuities or similarities. It is understood that the visibility of the music is structured in the convergence between the street photography, the photographic documentarism of the city, the journalistic action of photographic coverage of events in public square and streets and in the historical dimension of the craft of photographers focused on the recording of life musical in the city. One finds in the Benjaminian figure of the flâneur, in the visual reverberations of the city and in the mobility of photographers in the early twentieth century a key to understanding variations in the way to operate the capture of the local musical scene in the public space.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-08-24T16:16:15Z No. of bitstreams: 1 Júlia Capovilla Luz Ramos_.pdf: 119661523 bytes, checksum: a7441610d9a4d85822bae6a24151b4c9 (MD5) / Made available in DSpace on 2017-08-24T16:16:15Z (GMT). No. of bitstreams: 1 Júlia Capovilla Luz Ramos_.pdf: 119661523 bytes, checksum: a7441610d9a4d85822bae6a24151b4c9 (MD5) Previous issue date: 2017-07-05 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A partir da disponibilização dos jornais de maior circulação do Brasil na Internet, e suas posteriores reconfigurações no espaço virtual, percebemos que os blogs de fotografia de O Globo (FotoGlobo), O Estado de S. Paulo (Olhar sobre o Mundo), Zero Hora (FocoBlog), Diário Gaúcho (Diário da Foto) e Correio do Povo (FotoCorreio) despontam como lugares de comentário das práticas fotojornalísticas. Os fotojornalistas, ao postarem nesses blogs, acabam repetidas vezes, realizando monitoramentos das rotinas profissionais e mobilizando saberes mútuos e compartilhados entre seus pares; ora tentando extrair-lhes regras, ora deixando-se levar por elas. Para Foucault (1986, p.136), todas as práticas são discursivas e deixam transparecer um conjunto de regras anônimas e históricas capazes de condicionar as ações dos sujeitos ao mesmo tempo em que são recriadas por eles, num movimento contínuo de autorreflexão e monitoramento reflexivo dos diferentes atores sociais. Podemos dizer, portanto, que há um saber contido nestes blogs, que não se encontra em estado bruto, mas que se anuncia por meio de reflexões acerca do fazer fotojornalístico e que se mostra específico e localizado, praticado por fotógrafos atuantes na imprensa, principalmente a diária. Este material nos oportuniza acessar à atividade para tentar entendê-la, funcionando como um dispositivo de revelação do saber fotojornalístico, bem como nos possibilita perceber como os próprios repórteres fotográficos pensam ser suas rotinas, as mudanças na profissão e seu papel social na atualidade. É, portanto, a partir da recorrência produtiva e discursiva dos fotógrafos nas postagens destes blogs que chegaríamos a um primeiro entendimento sobre que profissão é essa, qual a sua especificidade e quais as transformações sofridas ao longo do tempo. Isso, contudo, somado a outros movimentos de pesquisa, como a aplicação de enquetes e a realização de entrevistas, além do acompanhamento das rotinas produtivas na redação de dois dos principais jornais do Rio Grande do Sul. Este conjunto de enunciados nos ajudou a tencionar o próprio espaço dos blogs como lugar de reflexão das práticas, observando as mudanças na utilização da plataforma e seu ciclo de vida na web de 2009 a 2015. Um espaço que se diferencia tanto dos manuais e dos livros de fotografia no que se refere à discussão da práxis, quanto dos próprios jornais aos quais estão ligados ao serem percebidos pelos fotógrafos como lugares livres da tirania cronoespacial, temática e estética dos impressos, tornando-se sítios heterotópicos capazes de suportar narrativas poéticas. É justamente nesta aparente lacuna bibliográfica, portanto, que se insere a proposta de investigação “Heterotopias fotojornalisticas: os blogs de fotografia dos jornais impressos de maior circulação do Brasil como espaços de produção e reflexão do saber e das práticas fotojornalísticas na contemporaneidade”. Ao fim e ao cabo, com ela pretendemos, sobremaneira, entender como os próprios fotojornalistas que compõem o quadro desses jornais discutem o exercício da profissão dentro do espaço dos blogs de fotografia aos quais estão ligados institucionalmente, produzindo um discurso de si e da atividade, e como isso reverbera nas bases disciplinares do campo fotojornalístico até hoje. / Taken from the most widely circulated online newspapers in Brazil, the photography blogs from O Globo (FotoGlobo), O Estado de S. Paulo (Olhar sobre o Mundo), Zero Hora (FocoBlog), Diário Gaúcho (Diário da Foto) and Correio do Povo (FotoCorreio) stood out as places where the practice of photojournalism is commented on. When photojournalists post their blogs, they are simultaneously monitoring the routines of professionals and sharing knowledge among their peers. Foucault (1986, p.136) states that all practices are discursive and reflect a set of anonymous and historical rules which shape the actions of subjects while these subjects themselves create new rules in a constant state of self-reflection and reflective monitoring of different social actors. This leads us to the understanding that there is knowledge contained within these blogs, not a raw kind of knowledge, but one that is spread on a daily basis by current press photojournalists as they are practicing photojournalism. This material helped us to understand the practice and provided information about photojournalism as well as giving us some insight as to what photojournalist reporters think about their routines, the changes in the professions and their current role in society. And it is through these photographers’ constant discourse and writing on their blogs that has given us a better understanding of what the profession is, what its specific nature is and what the changes are that have affected it over time. Other forms of research like surveys and interviews as well as accompanying production routines in newsrooms from two main newspapers from Rio Grande do Sul has also brought us to this current understanding. This set of criteria has led us to think of blogs as a space for reflecting on the practice, observing the changes to the platform and its life cycle on the web from 2009 to 2015. This is a space dissimilar to both photography manuals and books (which are related to the praxis) and the newspapers themselves, which photographers view as places free from the chronospatial, thematic and esthetic suppression of printed press, thereby becoming heterotopical sites capable of supporting poetic narratives. It is within this bibliographic gap that the research proposal “Heteropia in photojournalism: photography blogs from the most widely circulated newspapers in Brazil as spaces for producing and reflecting on contemporary photojournalism practices” fits in. Ultimately, we intend to understand what photojournalists from these newspapers think about the profession as it is conducted within institutional photography blogs, thereby encouraging discourse on the activity and on how it is reflected on the disciplines of photojournalism.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-10-08T11:52:50Z No. of bitstreams: 1 Pedro Revillion de Oliveira_.pdf: 2498934 bytes, checksum: eb617ef3af3bcf57ac053e71ab9a0134 (MD5) / Made available in DSpace on 2015-10-08T11:52:50Z (GMT). No. of bitstreams: 1 Pedro Revillion de Oliveira_.pdf: 2498934 bytes, checksum: eb617ef3af3bcf57ac053e71ab9a0134 (MD5) Previous issue date: 2015-03-04 / Nenhuma / A sociedade contemporânea é caracterizada pela grande quantidade de imagens em circulação. Um dos dispositivos responsáveis por esse fenômeno é o aparelho celular que, em sua grande maioria, contém uma câmera fotográfica embutida. Milhares de pessoas produzem fotografias intensamente com estes dispositivos móveis e publicam nas redes digitais milhões de imagens a cada minuto. Diante desde cenário, o fotojornalismo e o trabalho do fotógrafo profissional está sendo colocado em discussão. O fotojornalismo recebe pressões desse novo “fazer” fotográfico da contemporaneidade. Diante desse cenário, este estudo pretende entender quais as transformações que a fotografia móvel está produzindo nos processos de edição de imagem de um jornal e também na atividade do fotojornalista. Para isso, a pesquisa compreendeu o acompanhamento das práticas de produção fotojornalística do jornal Zero Hora, de Porto Alegre, RS, além de entrevistas com seus profissionais. Detectou-se, entre outros aspectos, que há uma transmutação contínua dos processos, que passam por fases adaptativas, ainda não consolidadas e com diversos pontos de tensionamento. / The contemporary society is characterized by the great quantity of images in circulation. One of the devices responsible for this great phenomenom is the mobile phone, wich in his great majority presents a built-in photographic camera. Thousands of persons produce images intensively whith these devices and then publish in social networks millions of photographs each minute. Whith this scenery, photojournalism and the work of the professional photographer is being put in discussion. Photojournalism is recives a great amount of pressure by this contemporary making of photography. Acknowledging this environment, this study intends to understand what are the transformations that mobile photography is forcing on the processes of image editing in the ambience of a newspaper and also on the workflow of the photojournalist. To do that, the reasearch involves the observation and folowing of the pratices and produtions in photojournalism of the Zero Hora newspaper, from Porto Alegre/Brazil. In this reasearch was detected, among whith many other aspects, that there is continuous transformation of the photographic process, that goes trough adaptives stages, yet still not consolidated and with diversicated tension points.