[pt] A fim de compreender os motivos pelos quais ainda se registra baixa participação de mulheres no mercado de trabalho do fotojornalismo, a pesquisa aqui relatada procura estabelecer um espaço de diálogo sobre as questões que circunscrevem a cultura jornalística e as relações de gênero, em especial no que se refere às experiências profissionais das mulheres no fotojornalismo. Para fundamentar a análise, foram adotadas as teorias do jornalismo e os estudos de gênero. Tomou-se como eixo a divisão sexual do trabalho para tentar explicitar como, historicamente, as assimetrias foram construídas e como elas se estabelecem nas experiências profissionais das fotojornalistas. O problema que deu origem à pesquisa surgiu da experiência de campo da própria pesquisadora, que percebeu o fotojornalismo como fonte de relações de poder estabelecidas em torno do gênero, que, por sua vez, se relacionam também com classe, raça e sexualidade. A partir das memórias de fotojornalistas sobre suas experiências profissionais, que usam os óculos da cultura profissional pelos quais os jornalistas e as empresas jornalísticas veem o mundo, tentou-se compreender como o fotojornalismo dialoga com as questões de gênero. Concluiu-se que os graus dos óculos precisam ser atualizados, pois a cultura profissional é produtora de desigualdades e hierarquias. Há a necessidade de se usarem novas lentes que possam fazer perceber a importância de incluir as experiências das mulheres à cultura profissional jornalística de maneira equânime. Novas lentes essas que incorporem às questões de gênero, classe, raça e sexualidade colocadas em perspectiva e atravessamentos. / [en] The research aims to understand the reasons for the low participation of women in the photojournalism job market with the purpose of establishing a space for dialogue on the issues that circumscribe journalistic culture and gender relations, especially with regard to refers to the professional experiences of women in photojournalism. For that, it uses theories of journalism and gender studies as the theoretical bases for the study. It takes as its axis the sexual division of labor to try to understand how, historically, asymmetries were constructed and how they are established in the professional experiences of photojournalists. The research problem stems from the researcher s own experience in the field, where in the role of photojournalist she perceived him as the source of the power relations established around gender that are also related to class, race and sexuality. From the memories of photojournalists about their professional experiences, who in turn wear the glasses of professional culture, through which journalists and news companies see the world, she tried to understand how photojournalism dialogues with gender issues. It was concluded that the degrees of the glasses need to be updated because the professional culture produces inequalities and hierarchies. There is a need to use new lenses that can make it clear the importance of including women s experiences in their own professional journalistic culture. These new lenses that incorporate gender, class, race and sexuality issues put into perspective and crossings.

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 what that means for documentary photography as a tool of social change.

A travers l’étude de l’œuvre du cinéaste Roman Karmen, nous souhaitons reconstituer un patrimoine et tenter d’en définir les enjeux autour de questions historiographiques. En effet, les images de l’opérateur soviétique n’ont pas seulement marqué l’histoire du XXème, elles ont en partie contribué à la construire en un objet unique. Les propriétés métonymiques de l’image (photographies et prises de vues) ont bouleversé notre perception en même temps qu’elles ont participé à la construction d’un récit historique général d’un nouvel ordre. Il s’agit d’un récit visuel complexe où se mêlent prises de vues sur le vif et mises en scène, motifs et emblèmes, personnages principaux, personnages secondaires et masses anonymes. Disséminées, ces prises de vues constituent le principal réservoir d’images dites d’archives dont se servent régulièrement les documentaristes contemporains pour faire « témoigner l’Histoire ». Retracer le parcours de Karmen permet de revenir aux sources de ces images, de comprendre leurs enjeux, leurs contextes de production et leurs rapports au sein d’une œuvre dont le récit se confond avec l’Histoire. Nous faisons ici l’hypothèse que ce récit constitué de prises de vues, d’actualités et de films documentaires est à l’origine « d’une vulgate soviétique de l’Histoire ». / With the study of Roman Karmen’s cinematographic work, we want to retrace a heritage and to identify its implications through an historiographical approach. Not only did the Soviet filmmaker’s images go down in history but they also contributed to shape the twentieth century into a single object. Indeed, the metonymic properties of Karmen’s shootings (cinematographic photography and live action) upset our perception and contributed to build an historical account that sustains a new order. It is a complex visual narrative bringing together live action and staging, subjects and emblems, main characters, secondary characters and anonymous masses. Disseminated, Roman Karmen’s work is the main reservoir of “archival images” often used by contemporary documentary filmmakers as a mean to present “first-hand History”. Following Roman Karmen’s artistic itinerary allows us to gain a better understanding of these images: their initial purposes, their making process, and their relationships in a work within which story merges with History. We assume that this narrative consisting of pictures, cinematic newsreels, and documentary films shaped the “Soviet vulgate of history”.

<p>En undersökning av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. World Press Photo är världens största fototävling och är prestigefylld att vinna för pressfotografer. Syftet var att undersöka vad de senaste årens bildjournalistik förmedlar till sina betraktare genom nyhetsbilderna som vunnit World Press Photo of the Year under 2000-talet. Syftet har förgrenat sig i frågeställningarna:</p><p>Vilka teman har vinnarbilderna i World Press Photo of the Year mellan 1999-2008?</p><p>Vad förmedlar innehållet i bilderna?</p><p>Vad finns det för likheter och skillnader mellan bilderna?</p><p>Studien är en kvalitativ undersökning där vi gjort bildanalyser av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. Vi har använt oss av semiotisk och retorisk bildanalys. Resultaten visar att vinnarbilderna som representerar det bästa inom bildjournalistiken visar ett begränsat antal teman, krig, sociala problem och fattigdom samt naturkatastrofer. De flesta bilderna är från Asien och framförallt Mellanöstern. Bilderna är negativt laddade och människorna på bilderna visar oftast sorg och lidande.</p>

En undersökning av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. World Press Photo är världens största fototävling och är prestigefylld att vinna för pressfotografer. Syftet var att undersöka vad de senaste årens bildjournalistik förmedlar till sina betraktare genom nyhetsbilderna som vunnit World Press Photo of the Year under 2000-talet. Syftet har förgrenat sig i frågeställningarna: Vilka teman har vinnarbilderna i World Press Photo of the Year mellan 1999-2008? Vad förmedlar innehållet i bilderna? Vad finns det för likheter och skillnader mellan bilderna? Studien är en kvalitativ undersökning där vi gjort bildanalyser av vinnarbilderna i World Press Photo of the Year mellan 1999-2008. Vi har använt oss av semiotisk och retorisk bildanalys. Resultaten visar att vinnarbilderna som representerar det bästa inom bildjournalistiken visar ett begränsat antal teman, krig, sociala problem och fattigdom samt naturkatastrofer. De flesta bilderna är från Asien och framförallt Mellanöstern. Bilderna är negativt laddade och människorna på bilderna visar oftast sorg och lidande.

This study reports the findings of a systematic visual content analysis of 356 randomly sampled images published about the Iraq War in Time, Newsweek, and U.S. News and World Report from 2003-2009. In comparison to a 1995 Gulf War study, published images in all three newsmagazines continued to be U.S.-centric, with the highest content frequencies reflected in the categories U.S. troops on combat patrol, Iraqi civilians, and U.S. political leaders respectively. These content categories do not resemble the results of the Gulf War study in which armaments garnered the largest share of the images with 23%. This study concludes that embedding photojournalists, in addition to media economics, governance, and the media-organizational culture, restricted an accurate representation of the Iraq War and its consequences. Embedding allowed more access to both troops and civilians than the journalistic pool system of the Gulf War, which stationed the majority of journalists in Saudi Arabia and allowed only a few journalists into Iraq with the understanding they would share information. However, the perceived opportunity by journalists to more thoroughly cover the war through the policy of embedding was not realized to the extent they had hoped for. The embed protocols acted more as an indirect form of censorship.