攝影的出現對傳統繪畫產生了創作意義上的變化；它為繪畫提供了新的閱讀的方式讓新藝術家有機會從新審視以繪畫作為媒介的創作，從而理解到繪畫和攝影之間的微妙關係。掌握攝影與繪畫兩種媒介的獨特言語，應用到創作之上是藝術家當前的首先要考慮的。 / 本文藉着引用不同以繪畫作為媒介的藝術家的例子，探討攝影如何影響到繪畫創作。並且說明繪畫創作在回應當代藝術發展的多樣性。 / The emersion of photography had made a change to the significant of traditional painting. It provides a new way of perusing painting, giving new artists an opportunity to examine creation that using painting as a media anew, in which to understand the subtle relationship between painting and photography. It is crucial for artists to grasp the unique languages of both media before applying on artistic creations. / This thesis explores how photography has or could influence painting through studying different cases of artists who used painting as a medium; and to illustrate how painting creation responded to the artistic development diversity. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 劉彥韜. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 35). / Abstract in Chinese and English. / Liu Yantao. / Chapter 一 --- 攝影的出現 --- p.1 / Chapter 1.1 --- 「靈光」消逝的年代 --- p.2 / Chapter 1.2 --- 觀看方式的改變 --- p.5 / Chapter 1.3 --- 重新閱讀繪畫 --- p.7 / Chapter 二 --- 繪畫與攝影之間的關係 --- p.11 / Chapter 2.1 --- 曾是對立的關係 --- p.12 / Chapter 2.2 --- 互相作用 --- p.13 / Chapter 2.3 --- 攝影的元素：「知面」與「刺點」 --- p.16 / Chapter 三 --- 繪畫創作回應當代藝術的可能性 --- p.20 / Chapter 3.1 --- 照片使用的情況 --- p.21 / Chapter 3.2 --- 手藝的堅持 --- p.24 / Chapter 四 --- 附錄--我的繪畫創作 --- p.26 / Chapter 五 --- 參考書目 --- p.35 / Chapter 六 --- 圖片來源 --- p.36

This study was composed of several large detailed drawings of forms from nature. The drawings were total abstractions of organic forms that had been photographed. The basic composition was structures-of ovals, rectangles and circles with various combinations of the three. With in the basic structures the writer subdivided the areas manipulating organic free forms with reliefs of white special areas.

Thesis (M.F.A.)--Rochester Institute of Technology, 1980. / Typescript. Includes bibliographical references and appendices.

Thesis (M.A.)--Ohio State University. / Bibliography: leaves 59-60. Available online via OhioLINK's ETD Center

Thesis (M. Phil.)--University of Hong Kong, 1989.

published_or_final_version / English Studies and Comparative Literature / Master / Master of Philosophy

Thesis (Ed. D.)--Illinois State University, 1968. / Title from title page screen, viewed Aug. 20, 2004. Dissertation Committee: Stanley G. Wold (chair), George Barford, Joy Holm, Henry Hermanowicz, Leslie M. Isted. Includes bibliographical references (leaves 92-96). Also available in print.

Thesis (M.F.A.)--West Virginia University, 2006. / Title from document title page. Document formatted into pages; contains v, 27 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 25).

This PhD project proposes the idea of ‘attractions’ as a tool for the critical analysis and reassessment of moving images. The term ‘attraction’ is not a description of textual features, but an interpretation of a dynamic interchange between the spectator and the screen. My methodology for this research examines the structuring principles of ‘attractions’, focusing on the single shot looped film. I reflect upon its relationship with narrative, its modes of temporality and its method of audience address. My practical enquiry develops moving image works that incorporate these principles and attempt to reconfigure the perceptions of time through the movement of objects and things. In my written component, I accordingly expand and develop an understanding of the term ‘attractions’ to include practices that resist narrative integration, practices ranging from the ‘pre-cinematic’ devices of the nineteenth century, through the avant-garde filmmakers of the 1970s, and finally to contemporary digital developments. The moving image loop has become a common mode of gallery presentation. However, there have been few enquiries into its mode of spectator address. I do not believe that adequate distinctions have been drawn between practices of narrative integration and practices that demonstrate ‘attractional’ principles. This research therefore considers the articulation of temporality, questions of narration, and the structural determinants shaping the moving image. I attempt to redefine these practices and to provide new answers by pointing to neglected connections between practices of narrative and practices of ‘attraction’.

My proposition developed in this thesis is that photographs have changed the way the past is conceived and therefore the way the past is remembered. Just as the inventions of the telescope and microscope radically changed our understanding of distance and space on a macro and micro level, the invention of the photograph has radically altered our concepts of the past, memory and time. My starting point is a collection of photographs taken by my grandfather, Albert Edward Ingham, which is used both in my studio work and as a basis for my theoretical writing. My concerns as an artist are with the ways in which familiar photographs and their relation to ideas of personal memory can be incorporated in an art practice. The written element begins with a reflection into my motivation for using this collection and its usefulness to both my written and studio work. I include a short biography of my grandfather, leading me to consider biography and autobiography, and their relation through photography to autobiographical memory. This is followed by an in depth discussion on autobiographical memory and how it differs from other forms and processes of memory. With this I have placed a discussion of contemporary ideas on photographs. Finally I look closely at ‘external memory systems’ and how these relate to changes in the way autobiographical memory operates in relation to photographs. The emphasis of this thesis is to explore ways to elucidate my own practice as an artist and to offer a commentary on those issues which have been central to its development over the past several years. This has been, and continues to be, a process of making explicit and of clarifying those influences that have resulted in me pursuing autobiography as the major concern of my practice as an artist.