Thesis (MFineArt)--University of Melbourne, The Faculty of the Victorian College of the Arts and Music, 2010. / Typescript. Includes bibliographical references (leaves 32-34)

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 121-124). Also available on the Internet.

Thesis--Syracuse University. / Vita. Includes bibliographical references (leaves 612-628).

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-09-01T13:21:04Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertaçao.pdf: 7438574 bytes, checksum: 06a9847642e4f3a99a2d95ce35122fcc (MD5) / Made available in DSpace on 2017-09-01T13:21:04Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertaçao.pdf: 7438574 bytes, checksum: 06a9847642e4f3a99a2d95ce35122fcc (MD5) Previous issue date: 2016-02-24 / CNPQ / Esta dissertação analisa a representação do proletariado na fotografia documental. O conceito referenciado na teoria marxista se refere ao grupo de indivíduos que representam a força de trabalho numa conjuntura econômica capitalista. Nossa ideia é estabelecer uma análise comparativa entre fotografias produzidas por August Sander (18761964), Sebastião Salgado (1944- ), Gilles Sabrié (1964- ) e Giulio Piscitelli (1981- ), articulando o eixo temático e as disputas políticas, estéticas, institucionais e conceituais envolvidas nos debates que forjaram definições e caminhos para o próprio campo documental (mapeando constâncias e possíveis rupturas), e identificando ainda referências presentes nas imagens que estão associadas a paradigmas dos séculos XIX, XX e XXI. A partir disso, esperamos compreender as questões implicadas nas diferentes maneiras de construir representações do proletariado, e o que tais representações fotográficas nos dizem a respeito desse grupo social. / This dissertation examines the representation of the proletariat in documentary photography. The concept referenced in Marxist theory refers to the group of individuals who represent the workforce in a capitalist economic environment. Our idea is to establish a comparative analysis of photographs produced by August Sander(1876-1964), Sebastião Salgado (1944- ), Gilles Sabrié (1964- ) e Giulio Piscitelli (1981- ), linking the main theme to political, aesthetic, institutional and conceptual debates involved in discussions about definitions of documentary photography (showing what remains and some possible breaks), and also identifying in those images, some references related to 19th, 20th and 21th century paradigms. This way we hope to understand issues involved in different ways to construct representations of the proletariat, and what these photographic representations can tell us about that social group.

This multimedia project explores the lives of Chinese and Taiwanese migrants living in South Africa and how language, culture, community and marginalisation have come to shape their identities and to visually represent them in a way that is not prevalent in mainstream media. It uses two visual mediums – photography and video interviews – to understand these migrants’ experiences, how they perceive themselves and how they think society perceives them. Data analysis consisted of a process of coding the video interviews and structural analysis of the visuals. Rising worldwide migration has simultaneously increased the spread of diasporic communities. China’s positionality as an economic powerhouse and the influx of East Asian migrants to South Africa in recent years has shone a light on this minority population group. However, much of what is known about them tends to be through forms of mass media which perpetuates stereotypical representations. This paper draws on various literature including acculturation, diasporic communities, representation, languaging and xenophobia to explore the lives of East Asian migrants living in South Africa and search for more empowered forms of representation.

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För att sammanfatta mitt examensarbete har jag undersökt vad de bakomliggande faktorernaför en bilds genrekategorisering påverkas av, ifall det är innehållet i bilden som påverkar desseffekt eller om det är antingen publikskontexten/produktionskontexten som avgör en bildsgenre. Till min hjälp bestämde jag mig för att åka till Japan och träffa en fotograf vid namnSaid Karlsson för att genomföra en etnografisk studie och intervjua honom på plats. Delsgjorde jag detta genom att hitta skillnader mellan varandras bilder och att fotografera sakersom intresserar mig i Japan som blev en del av min medieproduktion. Vad undersökningen resulterade, med hjälp av intervjun och diskussionerna om varandras bilder, var att en bilds genre avgörs inte av innehållet i en bild, det är i kontextsammanhanget bilden befinner sig inom. / To summarize my thesis, I investigated what the underlying factors for an image genre categorization is influenced by, if it is the content of the image, which affects its effect or if it is either the audience context / production context that determines a picture's genre. To my help I decided to go to Japan and meet a photographer named Said Karlsson to conduct an ethnographic study and interview him on the spot. Firstly, I did this by finding the differences between each image and to photograph things that interest me in Japan that became part of my media production. What investigation resulted, with the help of the interview and discussions about each other's pictures, was that a picture's genre is not determined by the content of an image, it is in the context context, the picture is within.

Thesis (M. Tech.) - Dept. of Visual Arts and Design, Faculty of Human Sciences - Vaal University of Technology. / The digital manipulation of images that are presented as photographs in the media raises issues of interpretation and the possible deception of viewers. The central research question of this study was whether training in the visual arts improves awareness of digital image manipulation of photographs. Secondary aims of the research were to investigate correlations between visual production literacy training and awareness of digital image manipulation of photographs as opposed to general visual literacy training. Secondary aims also include the !investigation of attitudes to the manipulation of photographs in relation to different viewing contexts and various levels of manipulation. The literature review provides background information and theoretical frameworks on the nature of the photographic message and how it is read primarily from a semiotic perspective. A further investigation was done into literature regarding the use of attitudes towards and ethical issues surrounding digital manipulation of photographs. In addition, a review of literature on visual literacy supports the argument that awareness of digital manipulation of photographs should and can be improved. For the empirical component of the study, a total of 145 students at the Vaal University of Technology with low, medium and high visual literacy training participated on a voluntary basis. Both qualitative and quantitative data was gathered through a digitally administered questionnaire on six visual images, each manipulated to a different degree. The results show that production literacy, especially specific training in digital image manipulation software, emerged as the main variable to be significantly (beta coefficient = 0.051; Pearson's r value = 0.436) associated with awareness of manipulation techniques as opposed to general visual literacy (standardised regression coefficieFlt = 0.436; Pearson's r = 0.051 ). Findings regarding attitudes to manipulation and the impact of viewing context show no difference between groups. Emanating from these results possibilities for further research were formulated.

Breaking the Frames of the Past examines recent visual and literary work about the periods of historical violence in Argentina, Chile, and Peru. In my dissertation, I argue that these cultural productions can challenge the linear conception of historical time, and reveal the existent tensions and blind spots present within the cultural memory realm of each nation. By examining the specificity of the materials and the aesthetic strategies present in the works, I hope to elucidate a necessary introspective turn in memory- what I have nominated metamemory, present in works that not only seek to interrogate official national paradigms, discourses of the past, productions of knowledge, and memorial imperatives, but also works that are profoundly aware of their condition as memory objects within a cultural memory realms. Breaking the Frames of the Past is divided into two parts, Part One: Images, engages with memory at a broader collective level, and analyzes the different ways the photographic medium has been used to represent the past and craft a sense of national belonging. Part Two: Texts is concerned with subjective memory, and the overlap between childhood memories lived simultaneously within the frame of a period of historical violence. I discuss literary work written by those born during these periods of violence in order to see how from their subjective experience and through their works they can assert to the existing tensions within cultural memory paradigms. In examining novels by those who are “the Secondary Characters” of history, I argue that their use of metafictional strategies is able to counter the feeling of displacement and sense of belatedness that is present in postmemory works.