Initially founded in 1955 as a platform for Dutch photojournalists to increase international exposure, the World Press Photo competition has grown into the most prestigious contest of photojournalism worldwide, making it an important arena for journalism research. Using qualitative and quantitative content analyses, this study examines all photos shown in the competitions from 1960 to 2020 (N = 11,789) considering the origin of jury members (N = 686), participants (N = 132,800), placements (N = 2347) and the Human Development Index (HDI) of the countries. The topics displayed on the photos, their degree of negativity, and potential power structures in the photos are analysed over time both in terms of continental and HDI-related differences. Significant results show that Africa, Asia, and South America are more frequently depicted by the topic conflict and characterised by negative images than continents with industrialised nations (Australia/Oceania, Europe, North America). Participating European countries have a significantly higher average number of jury members, participants, and placements than participating countries from Africa, Asia, and South America, which seems to account for a dominant Eurocentric view. Implications and critical discussions are summarized in three interim conclusions at the end of this extended paper.

Journalists use the term Arab Street to describe what they often imply is a volatile Arabic public opinion. This photo story travels through four Arab areas or Jordan, Qatar, Israel/Palestine and Egypt in order to show the diversity and complexity of each. The media’s tendency to lump all Arabs into one political block is detrimental to a true sense of cultural understanding that is required for peace. / text

The present work explores my practice as a photojournalist researching anthropological issues in the Muslim world. I use the Hawzas, the Muslim Shi’a seminaries, as my case study to invite a visually informed approach to the human sciences, and promote a practical usage of aesthetics. Because of the dramatic disproportion between socio-cultural relevance and under-representation, the Hawzas offer an extremely valuable opportunity to research issues of Orientalism and Orientalist visual archives. By questioning my own fieldwork practice alongside the visual signification of the Hawzas, I reconnect the pre-production to the post-production phase, and encompass within it a shared outlook issues of both the Real and the represented. I posit the photograph within wider multimedia and multi-audience practices as a stand-alone communicative device and part of a montage to assess its communicative features in relation to the verbal as a caption, and to the visual, in montage. Through this, I distinguish a phenomenological framework of analysis to urge a radical rethinking of personal and social agencies, and suggest the notion of communicative hubs for today’s globalised identities. I evince the extent to which the digital is reshaping forms of visual-led and multimedia production, knowledge distribution and media consumption to finally contextualise the photograph as ‘semantics without ontology.’ I conclude by advocating my ideas of the ‘Meta- Image’ and ‘Public Cultures 2.0’ as two integrated formats for visual-led communication, digital media practice, social engagement and public impact as specifically addressing Muslim cultures.

The thesis "A content analysis of photographs in Pestry tyden and LIFE magazine" analyses two successful magazines of the first half of the 20th century. Intentionally, two periodicals of different origin (Czechoslovakia and the United States) are compared to investigate the assumption that the different origin has major influence on the overall concept and focus of the periodicals. The subject of this study is the selection of volumes of 1937-1945, the period of the greatest success of both magazines. The study aims not only at describing the contents of the periodicals but also at situating them into social, political and art-historical context. The study is based on a theoretical part which gives a general overview of photojournalism and tracks the slow beginning of journalistic photography and the birth of the first illustrated magazines. This part also deals with technological development which made possible quality image journalism. The study does not leave out numerous restrictions, e. g. censorship, which were a frequent point of struggle for the magazines' authors. Key words: illustrated magazines, magazine photography, photojournalism, documentary photography, war photography, censorship, propaganda

The thesis "Comparative Analysis of Pictorial coverage of the Olympic games in London 2012 in chosen printed media and internet media" deals with photographs published in MF DNES and on the Aktuálně.cz news server. The main focus is comparison of the photographs in the means of content, quantity and quality and to elucidate function of photo editors in media. In the first part the theoretical background necessary to understand this issue is presented - news values, gatekeeping, photography, photojournalism and mainly sport photography, photojournalism and ethics, difference between print and online media. The second part is the analysis. All the necessary information was gained using three approaches - quantitative content analysis, qualitative pictorial analysis and interviews with professionals. The quantitative analysis determines quantity and content of given photographs. The qualitative analysis refines the information regarding visual quality and content of the images. Interviews with employees of the selected media companies provide answers about choosing and editing the published photographs and explain the role of a gatekeeper. The thesis also verifies hypothesis that "online media prefer speed of publication over quality of photographs while printed newspapers prefer quality".

René Burri est un photoreporter, membre de l’Agence Magnum Photos depuis 1955. Certaines de ses photographies sont aujourd’hui considérées comme des icônes de l’histoire de la photographie. L’analyse du système de diffusion de son travail, à travers la presse illustrée, tentera de répondre à la question de la fabrique de ces images en tant que symboles. Cette dense production est traitée en quatre chapitres. Le premier introduit le contexte photographique et éditorial dans lequel arrive René Burri, en 1955. Le deuxième suit l’ordre des publications liées à une prise de vue photojournalistique, événement après événement. Le troisième accompagne, thématiquement, les sujets développés par le photoreporter, quand le troisième replace la photographie au moment de sa reconnaissance institutionnelle. Le travail de René Burri subit dès lors, par la presse illustrée, une sélection par l’icône.Quelle est la relation entre l’œuvre de René Burri et la presse illustrée ? L’analyse des politiques éditoriales des plus grands titres de la deuxième moitié du XXe siècle soutient le discours et atteste de la place de la photographie de René Burri dans la presse illustrée. Cette recherche, au corpus inédit, permet de montrer l’œuvre du photographe sous une approche singulière et, au- delà, permet de voir en quoi la presse illustrée participe à un mode de diffusion exclusif de certaines photographies. En effet, certains clichés, qui avait été sujets à de nombreuses publications sont aujourd’hui oubliés, alors que d’autres, qui n’avaient pas été publiées au moment de leur réalisation, sont aujourd’hui, avec quelques unes qui résonnent toujours, représentatives du parcours du photoreporter. / René Burri, member of Magnum Photos agency since the middle of the fifties, is a famous photographer. Thanks to an exhaustive inventory of all of his published production, the study will bring it out. Through the analysis of the way the work of this swiss photographer has been edited, we could understand how, today, some pictures are kind of iconic. Four chapters analyse this dense production. The first one introduces the photographic and editorial context in which René Burri begins working in 1955. The second, following the order of the publications, event after event, deals with a photojournalistic photography. The third one handles the investigation photography of René Burri, trough a thematic construction. The last section is about the institutional recognition of the photography as an Art, so as some of the photographs are published like pieces of a photographic heritage. René Burri’s work is then broadcasted undergoing an iconic selection. What is the relationship between the work of René Burri and periodicals? The analysis of some greatest titles of the second half of twentieth century’s editorials politics attests of the importance of photography; and furthermore, of René Burri’s pictures. Through an unpublished corpus, the purpose of this study is to show the work of the photograph through an original approach; and, beyond, to see how the press can give a selective vision of this work. Indeed, some of photographs often published by the past are now unknown, although others, which did not appear in periodicals at the moment they were taken, are now very famous. Today, those ones, among vintages ones that still echoe, are representatives of René Burri’s work.

The Representation of Journalists in Videogames aims to find out how do videogame developers represent journalists in the mainstream videogames. The analysis is based on five case studies of various videogames but it also includes sequels and prequels of the selected games. The author of this thesis analyzes nine videogame journalists which can be differentiated into several categories: investigative reporters, photojournalists, paparazzis, radio and TV reporters and hosts of various television shows. Their behavior is not the only aspect this thesis analyzes because their visual appearance is also fully in the hands of the game developers. This thesis proves that the videogame journalists are sometimes depicted stereotypically but if so, it is always for a reason. Videogame developers do not always use this sort of depictions and can even accurately describe journalistic practice and behavior. Journalism is always better described if the journalist is a heroic protagonist of their videogame. If they are villains, it is often described using various negative stereotypes.

The master thesis Bedřich Kocek and Czech Press Photography is concerned with the life and work of Bedřich Kocek - Czech photojournalist who worked in the renowned journal Svět v obrazech (translated as World in Pictures) for over thirty years. The theoretical part specifies the genre of journalistic photography and its development from the turn of the 19th and 20th centuries to the 1980s. Furthermore, the development of the journal Svět v obrazech serves as an example for outlining the media and political context in Czechoslovakia since the end of World War II, when the periodical was established, until the 1980s, when Bedřich Kocek left the profession of a photojournalist. An especially valuable and vital part of the thesis is a chapter about the life of Bedřich Kocek, which has not been previously researched and described in detail. That section is based on personal interviews with the photographer using the oral history method. Moreover, the thesis explores the photographic work of Bedřich Kocek through the use of compositional analysis as well as the characteristic features of his pictures, which were part of the reports produced for Svět v obrazech.

[pt] A dissertação baseia-se em pesquisa exploratória, discorrendo sobre o período em que a imagem fotográfica começa a ser incorporada pela imprensa periódica ilustrada da cidade do Rio de Janeiro. Assim, fazem parte do universo desta pesquisa as publicações saídas entre 1839 (ano do anúncio da descoberta do daguerreótipo, primeiro processo fotográfico patenteado e explorado comercialmente no mundo) e 1900, derradeiro ano de um século marcante sob inúmeros aspectos e momento em que o país inicia a segunda década do regime republicano, em meio a transformações políticas, econômicas, sociais e culturais que, naturalmente, se refletiriam na imprensa. Na virada do século, o fato dos processos de reprodução fotomecânica já estarem técnica e comercialmente resolvidos e o fato da tecnologia da própria fotografia haver sido extremamente aperfeiçoada, vão implicar - com certo atraso em relação aos centros mais avançados - uma mudança de atitude quanto ao uso da fotografia na imprensa ilustrada carioca do século XX - distanciando- a, finalmente, da caricatura e conferindo-lhe uma gradual autonomia como meio de comunicação e expressão. Foram examinadas as coleções de 1.126 periódicos publicados na cidade do Rio de Janeiro no período, integrantes das coleções em microfilme da Fundação Biblioteca Nacional. O trabalho visou detectar as primeiras utilizações da fotografia, contextualizando-as minimamente - inclusive do ponto de vista das tecnologias empregadas - além de destacar dois marcos no processo de incorporação da fotografia pela imprensa ilustrada, o primeiro em A Semana Illustrada (1860-1876) e o segundo em O Besouro (1877-1878). / [en] The dissertation is based on exploratory research, covering the period during which the photographic image starts to be incorporated by the illustrated periodical press in the city of Rio de Janeiro. Thus the universe of the present research includes all periodical publications locally printed between 1839 (the year of the announcement of the invention of the daguerreotype - the first photographic process to be patented and commercially explored in the world) and 1900, which marks the end of an outstanding century under several aspects, when the country starts its second decade under the new republican regime, going through severe political, economical, social and cultural changes which, naturally, were reflected in the press.By the turn of the century, the fact that photomechanical processes were both technically and commercially well developed and also the fact that photographic technology had been quite perfected, would give raise to a change in attitude on what concerns the uses of photography in early XXth century s Rio de Janeiro illustrated periodical press. Photography finally moved away from caricature and reached a gradual autonomy as a means of communication and expression. One thousand, one hundred and twenty six collections of periodicals published in the city of Rio de Janeiro (which belong to the microfilm collections of the National Library) were examined. The work aimed at detecting the first uses of photography, putting them into minimum context - including the technologies employed. It also distinguishes two relevant marks in the process of photography s incorporation by the local illustrated press - the first in A Semana Ilustrada (1860-1876) and the second in O Besouro (1877-1878).

Made available in DSpace on 2016-04-25T20:21:02Z (GMT). No. of bitstreams: 1 Cristina Maranhao.pdf: 11708246 bytes, checksum: a0bee347f82f275fe29d92e5d9847d6b (MD5) Previous issue date: 2013-10-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis seeks to comprehend the imagetic construction of contemporary wars transmitted by national and international media, through the case study of two current conflicts: the war between police and drug dealers at Rio de Janeiro´s favelas of Complexo do Alemão, and the armed conflict between israelis and palestinians in the Gaza Strip, involving the Palestine Question. Devided in two parts, war and image, this work shows how significative changes occurred in the form of the warfare, associated to new global economic formula, originated from globalization and mundialization. These changes reflected in the form of representing the armed conflicts and therefore in the current photojournalism. . From the observation of significative diferences in the field of images, we focus in two aspects: the image as an action of imagination, and the image as excessive production of clichés from the society of the spectacle . This thesis proposes the construction of a western imagery catalog, elaborated from the relationship between the analysed images of conflicts and the images collected from paints, engraving or photographs. This proposition occured because we realised that there is an imagetic construction of war, wich is responsable for the imaginary of the warrior and of conflicts. Images of war today have changed along with changes of the armed conflict universe, demonstrating a reverberation of images and specific subjects turned into simple pictural clichés, wich in many cases do not represent the violence experienced by the population envolved. This reverberation expresses the generalization of images of war today / Esta tese procura compreender a construção imagética das guerras contemporâneas veiculadas pela mídia nacional e internacional por meio do estudo de caso de dois conflitos atuais: a guerra travada entre policiais e traficantes nas favelas cariocas do Complexo do Alemão e o conflito armado entre israelenses e palestinos na Faixa de Gaza que envolve a Questão Palestina. Dividido em duas partes, guerra e imagem, o trabalho mostra como ocorreram mudanças significativas na forma de guerrear associadas a nova formulação econômica global proveniente da globalização e da mundialização. Estas mudanças refletiram-se na forma de representar os conflitos armados e consequentemente no fotojornalismo atual. A partir da constatação de diferenças significativas no campo da imagem, nos concentramos dois aspectos: a imagem como uma ação do imaginar e a imagem como produção excessiva e formadora de clichês provenientes da sociedade do espetáculo . A tese propõe a construção de um catálogo imagético ocidental elaborado a partir da relação entre as imagens analisadas dos conflitos e imagens coletadas seja na pintura, em gravuras ou na fotografia. A proposta deste ocorreu, pois percebemos que existe uma construção imagética da guerra esta que é responsável pela elaboração do imaginário do guerreiro e dos conflitos. As imagens de guerra na atualidade se modificaram juntamente com as alterações do universo dos conflitos armados, demonstrando uma reverberação de imagens e de temas específicos transformando em meros clichês imagéticos que em muitos casos não representa a violência vivenciada pela população que está envolvida. Reverberação, esta, que expressa a generalização das imagens de guerra na atualidade